There are 3 definitive things that all cultured citizens should consider before deciding on a movie to see:
1) Does the following movie have a reliable director and crew behind it?
2) Does the following movie give off a challenging or distinctive personality?
3) Does the following movie feature Elisabeth Moss playing someone who appears to be going bats*** crazy in it?
And yeah, that whole Elisabeth Moss aspect of this movie: brilliant. And blimey can Leigh Whannell direct a movie! After his knockout 2018 science-fiction action thriller Upgrade, it was no shock that The Invisible Man came as a sagaciously directed project. Whannell continues to impress with his sleek, clean-maneuvered camera motions and contrived framings that not only intensify the scenarios occurring on screen to rewarding degrees but also offer sharp formulations within its preoccupying action sequences.
At the heart of what makes The Invisible Man a little more justifiable than the average, shlock horror picture, however, is its predominantly appropriate exploration of abusive relationships and the nauseating manipulation that often comes with it to its victims. The decision to make the leading character, played by Elisabeth Moss, Cecilia Kass’s experience that deals with this sort of misogynistic mishap almost came off as a perceptive metaphor for what it must actually feel like to be in an abusive relationship. Despite the movie’s storyline centering around a very fictionalized telling of an invisible ex-boyfriend haunting his ex-girlfriend, there is a great quantity of outlook to be wrung from the movie’s underlying memos. The movie’s material presentation of having you experience that constant feeling Cecilia obtains in always having an aggressor on your tail, judging and steering the wheel to every move you don’t yearn to make, justified a film that otherwise has flaws in its supplementary categories. Aside from the directing and obviously Elisabeth Moss and some of the other cast members, a majority of The Invisible Man’s themes appended a lot more substance that would’ve otherwise made the movie insufferably tedious.
What boils down to the collapse of Blumhouse’s latest horror phenomena, nevertheless, where its preposterous habits in condoning its negligent plot writing and childish conveniences. How a movie so close to greatness can be solely jeopardized by immature narrative tactics baffles me. The Invisible Man suffers from the contagious “bread-crumb writing” (yes, I just made that saying up) where a certain action or incident is, without reason or logic, inserted into the sequence of events in order to have a certain turning event or following episode occur. Trying to keep it spoiler-free, of course, but the movie is repetitively accompanied by insufferable plot-holes and irrational character decisions that were fundamentally interjected to idly progress the story forward. The obnoxiously vapid and criminally ostentatious score didn’t help the staging of the movie feel any less distasteful when mingled with Leigh Whannell’s expert directing and some fine performances.
I’m a little polarized by the conclusion to The Invisible Man, as well. It’s one of those endings that will please the stereotypical “cinephile” who thinks that any motion picture that leaves off ambiguously is instantaneously “high-art.” Truthfully, to me, it added nothing of nuance to the conversation and furthermore cloaked the strongest element of the movie’s motifs on the drawbacks of mistreatment. If anything, it makes the message seem more impractically obscured rather than solidified. There’s a sort of “petrifying empowerment” to the ending, sure, but it more so feels like a way to formulaically shrink the lessons that looked at the barriers of misogyny in a more psychologically down-to-earth and less theatrically stylized matter. It just appeared partially unsuitable to end a movie off vaguely when so much of the motion picture appeared quite strict on what it had to say thematically.
I’m torn, to say the least. There’s a treasure of components to applaud when it comes to The Invisible Man, but the horrendous scripting is just something I am exhausted of seeing in Blumhouse’s reign of horror movies these days. It genuinely makes me consider whether or not Hollywood should even seek to hire out writers these days when they can get the same results if an A.I. wrote the film’s detailed plot layout. In this case, robot Travis Scott will probably be writing movies in no time!
“The Invisible Man” will be released in theaters on February 28, 2020.