As this blog is a space for me to talk about themed parks and entertainment, this next post is a bit out of character. I love film and so much other media, so I felt that I should host my opinions along with my more normal type of articles. With all that being said, I saw a screening of Leigh Whannel’s new interpretation of the Universal classic monster and H.G Well’s creation, The Invisible Man. Did the new version of the story live up to the classic we all know and love? Absolutely.
Leigh Whannel proves his first nonsequel directed film, the critically beloved modern cult sci-fi movie Upgrade, was not a fluke. A beautiful script that allegorizes trauma and domestic abuse, The Invisible Man tells the story of paranoia in the information age. While set in modern-day, the architecture of the film has a flair similar to that of the near future in Upgrade. Minimalism isn’t just present in the production design, though. The whole film is an exercise in restraint, building actually intense and scary moments through well-deserved storytelling, and not just an indulgent and lame sound effect.
Whannel’s direction is similar to Upgrade, using robotic rigs for action sequences to immerse the audience in the action of the film. While shot composition and overall camera movements are far stronger in The Invisible Man than Whannel’s previous work, the color grade does sit a bit too grey for my liking (although I understand the creative choice). Whannel directs actors to get pure emotion, best seen in Elisabeth Moss’ Cecilia. Moss’s performance is one of, if not, her best, adding a great relatability to a film that demands you to suspend your disbelief. The score is strong but already surpassed by other slow burns like The Witch. The sound editing is also incredibly strong, with monumentally creepy moments made of door squeaks. The film really surpassed my expectations for a Universal monster remake, becoming a truly strong horror piece that will be enjoyed for years. Pretty good, 7/10.
The Attraction Compaction 