The Invisible Man: Neon NZ Film Review
Upgrade's Leigh Whannell turns his hyper-kinetic hand to another update of The Invisible Man story.
This time around, The Handmaid's Tale's Moss plays Cecilia, who's trapped in an abusive relationship with beau Adrian. Finally making the jump to escape, Cece believes her world is changed, and due to his apparent suicide, she's free.
However, she soon comes to believe that Adrian's not dead and is out to get her.
But can she convince those around her this is actually the case?
Essentially a film about gaslighting, and one woman's fight back against it, Leigh Whannell's The Invisible Man is atmospheric intrigue from the get-go.
Haunting and a grippingly bleak expose of the legacy of abuse, Whannell's script makes the most out of a harried Moss, who gives her all and revels in her misery when there's no one else onscreen. (Or is there?) Her Cecilia has enough seeds of doubt sewn to make you question whether she's right, or what exactly is going on - though admittedly, the title is The Invisible Man and not The Invisible Woman.
But it's the director who's primarily the star of the film.
Employing techniques he used to visual excellence on Upgrade, Whannell brings his use of syncing the camera to the film's most chilling moments. Whether it's a sequence in a kitchen, or a brutal encounter within a hospital, Whannell channels a kind of kinetic brilliance that marks this revamp of The Invisible Man out when it comes to the action.
Long wide shots of empty unsettling spaces, a la early Paranormal Activity, promote a kind of queasiness as the film practically invites you to scan the screen, searching for the titular character and putting you in the mindset of unease thrust upon Cecelia.
Granted, the film's really about a woman's crusade against endless negativity and systematic and systemic ignorance, but it never loses sight of the fact that at its heart, it's about a primal horror and terror.
It's just that this terror is more psychological and excellently conveyed by Moss' character.
Ultimately, it's so engrossing and unnerving, that it may allow you to skirt over some of the script's hokier edges, occasional predictable moments and odd lapses of logic which occur among some of the more obvious jump scares.
At its heart though, The Invisible Man offers terrifying thrills among its subtle fearscape (its use of sound is superlative as well) - as much of a rollercoaster as a psychological breakdown, against all odds, The Invisible Man remains one to be seen.
This time around, The Handmaid's Tale's Moss plays Cecilia, who's trapped in an abusive relationship with beau Adrian. Finally making the jump to escape, Cece believes her world is changed, and due to his apparent suicide, she's free.
However, she soon comes to believe that Adrian's not dead and is out to get her.
But can she convince those around her this is actually the case?
Essentially a film about gaslighting, and one woman's fight back against it, Leigh Whannell's The Invisible Man is atmospheric intrigue from the get-go.
Haunting and a grippingly bleak expose of the legacy of abuse, Whannell's script makes the most out of a harried Moss, who gives her all and revels in her misery when there's no one else onscreen. (Or is there?) Her Cecilia has enough seeds of doubt sewn to make you question whether she's right, or what exactly is going on - though admittedly, the title is The Invisible Man and not The Invisible Woman.
But it's the director who's primarily the star of the film.
Employing techniques he used to visual excellence on Upgrade, Whannell brings his use of syncing the camera to the film's most chilling moments. Whether it's a sequence in a kitchen, or a brutal encounter within a hospital, Whannell channels a kind of kinetic brilliance that marks this revamp of The Invisible Man out when it comes to the action.
Long wide shots of empty unsettling spaces, a la early Paranormal Activity, promote a kind of queasiness as the film practically invites you to scan the screen, searching for the titular character and putting you in the mindset of unease thrust upon Cecelia.
Granted, the film's really about a woman's crusade against endless negativity and systematic and systemic ignorance, but it never loses sight of the fact that at its heart, it's about a primal horror and terror.
It's just that this terror is more psychological and excellently conveyed by Moss' character.
Ultimately, it's so engrossing and unnerving, that it may allow you to skirt over some of the script's hokier edges, occasional predictable moments and odd lapses of logic which occur among some of the more obvious jump scares.
At its heart though, The Invisible Man offers terrifying thrills among its subtle fearscape (its use of sound is superlative as well) - as much of a rollercoaster as a psychological breakdown, against all odds, The Invisible Man remains one to be seen.
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