4/5
Leigh Whannell’s The Invisible Man is a chilling and deeply effective horror film that remains far more grounded and naturalistic than the genre often allows. Whannell’s use of empty space and static shots to build tension is especially masterful – there are sequences in the first half of the film that will undoubtedly stand alongside the great moments in horror. By reframing the narrative as an exploration of abusive, controlling relationships and the ways abusers gaslight and isolate their victims, the film takes on additional modern resonances that are extremely satisfying, and it’s especially nice to see the film situate us in the viewpoint of Elizabeth Moss’s character, rather than that of the titular ‘monster.’ It’s also nice to see such an honest depiction of the way wealthy men (and tech bros in particular) use their money and privilege to isolate themselves from the consequences of their toxic masculinity. Moss is excellent, of course, but the entire cast turns in stellar performances. There are a few predictable plot beats throughout that feel more perfunctory than inspired, and Whannell doesn’t quite stick the landing as well as he seems to think he does, but it’s still so satisfying to see a horror film exploring ideas and issues as deftly as this one does.
