‘What you can’t see can hurt you’
The Invisible Man is a 2020 American science fiction horror feature film written and directed by Leigh Whannell (Upgrade). The Blumhouse science-fiction horror film is very loosely based on H.G. Wells 1897 classic character.
Oliver Jackson-Cohen plays the title role. Jackson-Cohen previously played Luke Crain in the series The Haunting of Hill House and Jonathan Harker in the 2013 Dracula series. The remaining leads are played by Elisabeth Moss, Aldis Hodge, Harriet Dyer and Storm Reid.
Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Elisabeth Moss) escapes in the dead of night and disappears into hiding, aided by her sister (Harriet Dyer), their childhood friend (Aldis Hodge) and his teenage daughter (Storm Reid).
However, when Cecilia’s abusive ex-partner (Oliver Jackson-Cohen) commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax.
As a series of eerie coincidences turn lethal, threatening the lives of those she loves, Cecilia’s sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see.
“Whannell’s approach here is very different from all iterations of the character, which focused on the psychological toll of invisibility. Rather, this shows us how utterly terrifying it would be to be stalked by an invisible opponent, and Whannell makes it a slow burn, with handprints on the glass in a steamy shower, unexpected bumps in the night, and, most shockingly, inexplicable violence against a supporting character.” Arrow in the Head
“It offers plenty of tension, the kind that leaves your stomach in knots, and even provides a couple of great scares. The character building scenes might feel sluggish in comparison to the adrenaline-fueled highs. Ultimately, though, it’s a seriously potent psychological thriller that maximizes the suspense and violence in ways that leave you breathless.” Bloody Disgusting
“The most disturbing scenes in The Invisible Man are not big visual effects, but rather the insidious ways Adrian sabotages Cecilia’s life. He sabotages her work and her family relationships. That does more damage than grabbing Cecilia from behind and lifting her up because Adrian is doing things Cecilia can’t explain.” CheatSheet
“Apart from a few moments that feel like they amount to nothing, The Invisible Man is a polished and utterly suspenseful reimagining of Universal’s classic horror icon. With an ambitious performance from its lead actress and insightful writing/directing choices, this is a remake done right.” Critical Hit
“The various nods to the original book and film were very much appreciated by this geek, and I love how the story also stands on its own as a powerful examination of the lasting effects of abuse, all while delving into some pretty nifty technology-driven sci-fi to boot.” Daily Dead
“Combining elements of the stalker thriller with sequences suggestive of John Carpenter at his most Halloween-esque, the entire endeavour is rounded off a treat by a superb central performance by Moss, who anchors the whole film and makes it believable. The action sequences are as well constructed as one might expect from the director of the excellent Upgrade…” House of Mortal Cinema
“The insidious idea of extrapolating white male dominance through a carnival of trompe-l’oeil brutality and bloodshed — all perpetrated by Adrian, “a world leader in the field of optics” — reflects back on the film itself. This Invisible Man is not entertainment; it’s merely a domestic-violence showcase for masochists.” National Review
Whannel told EW:
“I wanted to […] make something that was really modern, really grounded, or as grounded as you can be when you’re dealing with a film called The Invisible Man. Just something that was really tense and scary in a way The Invisible Man hasn’t been before.” Read more of the interview at EW
The Invisible Man was released by Universal Pictures on Friday, February 28th, 2020; it was rated ‘R” by the MPAA for “some strong bloody violence, and language.”