The Invisible Man (2020) Film Review

Myself and JJ started watching The Invisible Man with a conversation about Horror films.  I like horror films such as Saw, Carrie, Train To Busan.  What really freaks me out is psychological horror, the kind that tortures your mind leaves you in suspense and then hits you hard, films like original IT, Women In Black, Black Swan, Disturbia.  JJ on the other hand prefers these psychological thrillers while I hide under a cushion!
I had heard that, unusually for an Invisible Man movie, it focuses on the psychological terror experienced by a single person. The fact that it is written and directed by Leigh Whannell, the writer of 2004’s SAW & produced by Blumhouse, who are famous for producing mainly horror films on an almost micro budget, intrigued me

Many people think that Marvel Studios invented the Cinematic Universe (a shared collection of movies) with Phase one of the Marvel Films.  What people tend to forget is that Universal Studios created a cinematic universe first back in the 1930s to 1950’s with the Universal Monsters. A collection of films such as The Phantom of the Opera, Dracula, Frankenstein, The Mummy, The Invisible Man, The Wolf Man and Creature from the Black Lagoon. Some of the films shared tiny amounts of screen time with each other.

Fast forward to the 2010’s and Universal could only look on at the behemoth that was the Marvel Franchise. They had a plan to resurrect the Monsters Universe starting with Dracula Untold, following up with 2017’s The Mummy and announcing The Invisible Man starring Johnny Depp.  Dracula did ok at the box office but The Mummy tanked and ultimately the new Monsters Universe plan was scrapped. 

All went quiet until Jan 2019 when Universal announced the Monsters Dark Universe. Basically they have given up attempting to make a family friendly shared universe of characters and instead opened the characters up to independent, unrelated one off productions. DC is doing something similar with their slate of super heroes characters, with the Joker leading the way.

So out went Johnny Depp and a massive budget and in comes Indi horror specialists Blumhouse, bringing on board Whannell to write and direct.  Whannell  has taken HG Wells 1897 source material and used it as inspiration to bring the character back to the big screen in a way not seen before.

Script Rating Script 7 Out Of 10

HG Wells story is about an optical scientist that dedicated his life to making himself invisible and the intrigue and murders that ensue as a result.  Whannell has flipped it so we see the story from the point of view of the invisible man’s tortured ex girlfriend (Elizabeth Moss). It’s not about the invisible man reigning chaos over a country or indeed a town. It’s more personal than that. Imagine what domestic abuse would be like if your abuser was invisible. Whannell’s script explores the relationship between the abused and the abuser- what type of damage an invisible abuser could reign down on someone. Destroying relationships rather than killing people, torturing the mind, making someone seem mentally unstable.   It’s a great idea and seems like perfect timing to bring this type of character back.

It’s not all 100 percent positivity for this new incarnation though. The Invisible Man does have some plot points that are just as invisible.

The film begins with Elizabeth Moss’ character escaping from her suggested captivity.  At this point we get glimpses of what is to come but at no point does the film explain anything about the ‘Invisible Man’. We are told about his obsession with Kass and that’s about it. Who is he, what research has he done or is doing? Why are the authorities interested in his technology? The movie assumes that we (the viewer) know what’s going on so doesn’t bother explaining.

If anyone is playing horror film bingo, we have : Clever fight scenes, a suspicious brother, a Scooby Doo style reveal, a couple of sliced throats, a sinister rain storm, and a psychiatric hospital

– BINGO!

Sound Rating Rating 8/10

We watched on a 4k Blu-Ray featuring an ATMOS soundtrack.  The film utilises ATMOS really well.  We had the sound of rain falling overhead and also a mobile phone buzzing overhead when it was in the loft on screen,  The score has been provided by composer Benjamin Wallfisch. and whilst suits the film is not at all memorable. It’s generic spooky music and I won’t be rushing to get it on a playlist.

Video Rating 10 out of 10

The Invisible Man is a film that greatly benefits from a 4k release. The extra detail within a 4k image allows for a greater black level depth. Whist this may seem technical what it basically means is the viewer is drawn into the film within in the first few minutes of the film. As the opening low light sequences pop with a sharpness that High Definition simply can not match. The films detail can clearly be seen, check out when Cecelia stands outside and the Invisible Man breaths…
Dolby Vision is implemented well and gives a superb colour palate and suites the tone of blues and greys really well. Skin tones look natural and not a hint of graining.  Stefan Duscio doing a sterling job with the cinematography.

Effects Rating 10 out of 10

Being Blumhouse produced, the film does not have a mass of digital VFX. Whilst this may be surprising as The Invisible Man would lend itself to being VFX heavy, Whannell has excelled in using practical effects undercut with some very clever camera panning and only resorted to VFX for a small number of scenes. It is a very Hitchcockian style that suits both the movie and Blumhouse’s budget. 

Technically the film is excellent. This is a volatile and gritty adaptation of an absolute classic story. Its 2 hour run time doesn’t seem to lag and it doesn’t suffer from the dreaded middle act drag. Suspense and action is handled well and Moss absolutely shines in her performance – carrying the film.  It’s a shame that lazy writing expects the audience to have some prior knowledge of the subject source material and that certain characters turn up without having any clear explanation as to why they exist. The titular character is portrayed with no gravitas and seems to be a missed opportunity.

Find Out more about our ratings here

Words Garry Llewellyn

Editor JJ

Directed by
Leigh Whannell … (directed by)

Writing Credits
Leigh Whannell … (screenplay by)
Leigh Whannell … (screen story by)
H.G. Wells … (novel) (uncredited)

Elisabeth Moss … Cecilia Kass
Oliver Jackson-Cohen … Adrian Griffin
Harriet Dyer … Emily Kass
Aldis Hodge … James Lanier
Storm Reid … Sydney Lanier
Michael Dorman … Tom Griffin
Benedict Hardie … Marc (Architect)
Renee Lim … Doctor Lee
Brian Meegan … Lyft Driver
Nick Kici … Taylor (Waiter)
Vivienne Greer … Screaming Woman
Nicholas Hope … Head Doctor
Cleave Williams … Orderly
Cardwell Lynch … Police Officer
Sam Smith … Detective Reckley
Zara Michales … Nurse
Serag Mohamed … Strike-Stun Guard (as Serag Mohammed)
Nash Edgerton … Security Guard
Anthony Brandon Wong … Accident Victim
Xavier Fernandez … Detective

Rosemary Blight … executive producer
Jason Blum … producer (p.g.a.)
Kylie Du Fresne … producer (p.g.a.)
Ben Grant … executive producer
Couper Samuelson … executive producer
Jennifer Scudder Trent … co-producer
Beatriz Sequeira … executive producer
Jeanette Volturno … executive producer
Leigh Whannell … executive producer
Megan Wynn … line producer