There have been quite a few adaptations of The Invisible Man movie. We remember in particular that Paul Verhoeven had tried it with Hollow Man, in a demonstrative, violent festival with a graphic just as stunning as it is invigorating.
The Invisible Man movie critic
It is Leigh Whannell who takes up the torch today in the service of Jason Blum and his formula mini-stake for maximum-profit, while digging the furrow of evil, even of perversion.
In view of the show, there would be plenty to rekindle Universal’s hopes for a stillborn monster-verse, as the film seems to have understood everything to keep its spectator spellbound in an efficient and carnal way.
But Leigh Whannell has something to talk about as well, causing The Invisible Man movie to literally transcend his simple identity as an average horror movie. Because it will be much more of a thriller based on domestic harassment, the chronicle of a persecuted woman, of her trauma, of the omnipotent figure of the narcissistic pervert in full possession of his power of nuisance and who made his life a hell.
The staging tends towards an almost crystalline purity, going against the hackneyed formula of the genre as we can know it today. No ostentatious special effects, no archi jump scares expected, but long shots on a setting that is apparently empty, creeping into the anguish felt by the victim, drawing the invisible and the diffuse, omnipresent, heavy threat. ‘a presence taking on the appearance of paranoia.
For Whannell, it is therefore a question of putting into images the perpetual terror, the post-traumatic stress suffered by a manipulator of the toxic male gender, with much more acuity and sincerity than all these alibi films. who claim the emancipation of women and the end of degrading patriarchy.
Until the switch, in the eyes of those around the heroine, into madness.
Certain nodes of the story will undoubtedly perplex some here. As is the imbalance of the film eyeing the action in its last part. Mail Leigh Whannell has the immense merit of believing in its plot, carrying it to the end and treating it without any ounce of cynicism or humor that would certainly have been inappropriate. But the spectator is caught up in being plunged, as if in apnea, in a tense story and a breathless rhythm. By assisting, helplessly, what Elisabeth Moss undergoes, drawn into a vertiginous spiral of unease.
To the point of emerging from the room with the impression pegged to the body that The Invisible Man movie stands out as the first surprise of 2020, as the modernization of his figure is effective, so much the film is carried by a master hand by a director who shows a strong character and a point of view on what he wants to tell.