phancy.com - horror reviews - MOH 2021

The Invisible Man



IMDb Info

Release Year: 2020
Runtime: 2h 4min
Country: Canada, Australia, USA
Language: English
Genre Tags: Drama, Horror, Mystery
Plot Summary: When Cecilia's abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see.

Poster - Title Card


phancy.com rating:

phancy.com notes: Terrifying. What if your obsessive, controlling, abusive stalker was invisible, your support system was only two people, and they just thought you were crazy? Legitimate tension and thrills, and a strong performance by Elisabeth Moss.


Outside Reviews:

Tomris Laffly
4 out of 4 stars - rogerebert.com

The abusive male himself might be unseen, but the fear he spreads is in plain sight in The Invisible Man, Leigh Whannell's sophisticated sci-fi-horror that dares to turn a woman's often silenced trauma from a toxic relationship into something unbearably tangible. Charged by a constant psychological dread that surpasses the ache of any visible bruise, Whannell's ingenious genre entry amplifies the pain of its central character Cecilia Kass (Elisabeth Moss) at every turn, making sure that her visceral scars sting like our own. Sometimes, to an excruciating degree.


Jesse Hassenger
Grade: B+ - A new version of The Invisible Man makes one of his victims intensely visible

Moss, though, classes things up considerably. If there's something a little bit queasy about turning a Universal monster movie into a domestic abuse/stalker thriller in the Sleeping With The Enemy vein, her performance functions as a dose of anti-nausea medicine. As with her less genre-friendly work with Alex Ross Perry, Moss combines skittish vulnerability with mesmerizing steeliness, the former stabilizing into the latter for moments of cornered resourcefulness. Her targets include some additional non-rampaging men who still earn Cecilia's ire: She memorably describes one as the "jellyfish version" of her hateful ex. Moss also strengthens the notion that this is a monster movie unusually interested in looking past the toxic-male machinations of its famous character and toward the lasting horrors left in his wake. In other words, the stuff that previous movies, and real life, have sometimes tried to turn invisible.