Attempting to adapt a literary classic into movie is always a risky proposition. It is even more dangerous when said literary classic’s film adaption becomes a cinematic classic and Hollywood decides to do a remake of that classic. So, what is it called when a studio proposes a reboot of said cinematic classic only to have it fail before it gets off the ground and decides to reboot the reboot? That’s bravery of a special kind and apparently Universal has plenty of it. In their reboot of the failed 2016 reboot of the 1933 film adaptation of the 1897 H.G. Wells novel, Universal’s 2020 iteration of The Invisible Man repurposes the classic’s focus from a scientist gone mad to a woman trying to escape the clutches of an abusive partner. Does Universal’s nerve, only matched by those who would let Ja Rule file their taxes, payoff? You bet your blown tax refund check it does.
Elisabeth Moss gives the performance fans of her television work have been waiting on for years. As Cecilia Kass, ex-wife of a wealthy but abusive scientist, Moss masterfully juggles the tall task of showing us a character who is fighting two enemies – the invisible force that she believes to be her recently deceased abusive ex and the symptoms those who survive an abusive relationship may encounter in real life.
When we see Cecilia in the immediate aftermath of her escape from the relationship, Moss displays the fear and second guessing on actions as simple as stepping outside to go to the mailbox with an authenticity that serves a reminder these situations are beyond a plot point in the movies. As Cecilia progresses to the point where she is firm in her belief her ex is somehow continuing his reign of terror from beyond the grave, Moss exhibits the strength and sharpness have made her characters in Mad Men and The Handmaid’s Tale so endearing. Aldis Hodge delivers a solid performance as Cecilia’s supportive friend, police officer James, but it is Moss’s show in front of the camera.
Writer-director Leigh Whannell, known for his work in both the Saw and Insidious series of films, deserves major kudos as well. Whannell’s ability to adapt a 123-year-old novel into socially relevant film is something any writer who accomplishes that undertaking should be praised for. However, the most impressive thing about Whannell’s script is the film touches on themes such as it’s not as simple as “leaving” when ending an abusive relationship or society’s tendency to dismiss stories of abuse simply because they were not seen first-hand without selling itself as that type of movie.
On the technical side, Whannell uses the formula seen in the Insidious series – camera angles and sound to keep you on the edge of your seat. Instead of going for big, gory scares, Whannell uses a combination of wide shots and a non-diegetic scene to make you question what we and Cecilia believe to be in the room. This makes The Invisible Man into a more enjoyable thriller instead of what would have been an average at best horror film.
The Invisible Man defies all the odds of being the reboot of a reboot and brings a refreshing spin to a classic tale. You won’t get the prototypical horror scarefest, but it provides everything you want in a good thriller while sending a clear message without becoming self-righteous. Moss gives what could be the best film performance of her career so far and Whannell’s revisiting of his Insidious roots on the technical side will have you questioning your own sanity. Visually, there is nothing in the film that warrants seeing it in a premium format. However, the sound in the film may be worth the upgrade. Either way, The Invisible Man is a must see.
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