How many times has Universal tried to reboot its classic monster characters? 3? 4? Their attempts at making giant, blockbuster extravaganzas failed, none more spectacularly than 2017’s The Mummy, a film so bad that it shelved an entire production line of future films. It was wise then that in the creation of a new Invisible Man film, the project went small: six characters, no giant fights, atmosphere over schlock. The result is a nervewracking thriller that builds up to scares and develops interesting characters with an abusive relationship slant that makes for a modern critique.
Written and directed by Leigh Whannell (of the Saw franchise believe it or not), the film focuses on the relationship between Cecilia Kass (Elisabeth Moss) and Adrian Griffin (Oliver Jackson-Cohen). Adrian, rich and charismatic, is secretly abusive, pushing Cecilia to spike his drink and escape in the middle of the night. Hiding out at a friend’s house, cop James Lanier (Aldis Hodge) and his daughter, Sydney (Storm Reid), Cecilia learns that Adrian apparently killed himself. Not long after though, strange things begin happening: heavy breathing near her face, the feeling that someone is watching her, objects moving with no one near them. With the help of her sister, Emily (Harriet Dyer), Cecilia suspects that Adrian is not dead and has instead created a suit that renders him invisible. Adrian’s abused brother, Tom (Michael Dorman), may hold the key to what is really going on.
The film uses excellent use of negative space, highlighting where Adrian may or may not be, building anticipation and suspense. There’s a great amount of moodiness as well, with dark hallways, rainy prisons and modern bedrooms with ocean waves in the background. The movie wisely uses these old cinema tricks to enhance its story, sidestepping jump scares and over-the-top special effects for good, old fashioned eeriness.
The third act twist is a little predictable. A few more subtle setups would have gone a long way towards creating genuine surprise. In addition, Adrian and Cecilia’s relationship feels a little underdeveloped. We don’t quite understand the dynamics between them, needing little details to build more intimacy and develop stronger characterizations.
The open question at the end of the film feels simultaneously satisfying and a bit unfullfilling. For a story that wants to pontificate on abusive relationships and feminine strength, a definitive ending plot point would have made a stronger thematic idea. As such, the artistic open questions left open at the conclusion still manage to deliver a thought-provoking finale.
The Invisible Man is a smart and simple horror story, one that all future iterations of classic monster films would be wise to somewhat emulate.
Hardwired for Film 
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