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There are moments in The Invisible Man that are genuinely shocking - The Sun

THIS slick update on the classic story by HG Wells brings many modern “woke” twists to the story.

It features a great performance by Elisabeth Moss, but oddly for production company Blumhouse (which brought us Get Out), this film seems to bottle it and offers a pretty lame sci-fi as its finale.

 Despite losing its nerve, there are moments that are genuinely shocking, which just about makes it a worthwhile and unsettling experience

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Despite losing its nerve, there are moments that are genuinely shocking, which just about makes it a worthwhile and unsettling experience

If Get Out was horror’s take of all our inherent racism and Midsommar a subtle twist on toxic masculinity, then this is a slightly more obvious representation of gaslighting.

We meet Cecilia Kass (Moss) as she executes a narrow escape from the clutches of her clearly very rich and abusive tech entrepreneur boyfriend.

So far, so Sleeping With The Enemy. Grabbing a pre-packed bag and drugging him to sleep, she shimmies over the wall to the safety of her sister’s car.

Terrified after her ordeal, she then struggles to adjust to being free until she learns of boyfriend Adrian’s suicide — and a sizeable amount of cash left to her in his will by way of apology.

 The film is reliant on director Leigh Whannell’s subtle camera movements to suggest rather than display

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The film is reliant on director Leigh Whannell’s subtle camera movements to suggest rather than displayCredit: AP:Associated Press

Life slowly starts to get better until Cecilia begins to feel as though she is being watched, becoming convinced not only of Adrian’s continued existence but that he has somehow used his tech prowess to become invisible.

This theory gets predictably short shrift from those around her and, as time passes, she begins to look unhinged and dangerous. For the most part, this is a classy, modern horror. We (obviously) see nothing of Cecilia’s adversary for a long time.

Instead, the film is reliant on director Leigh Whannell’s subtle camera movements to suggest rather than display. Moss’s performance is intense. Your breath is held for an uncomfortable amount of time.

But as the film continues to its rather obvious ending, it tosses this dread out of the window, replacing it with something more akin to one of the lesser Predator films mixed with the invisible James Bond car from the naff Die Another Day.

Despite losing its nerve, there are moments (one in particular) that are genuinely shocking, which just about makes it a worthwhile and unsettling experience.

This is a timely look at abuse with some great Nineties reference points. It was just better when the man stayed invisible.


The Invisible Man (15) 124mins

☆☆




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