Elisabeth Moss fights what she can't see in eerie, jump-scary The Invisible Man: Review
, an enjoyably nervy little slice of psychological horror whose best moments aren’t its numerous jump scares but the quieter, more existential ones.
Moss stars as Cecilia Kass, a Bay Area architect — or at least she aspired to be, once upon a time — living with her tech-mogul boyfriend in his modernist fortress overlooking the sea. In the movie’s opening scenes, she makes her midnight escape,-style; we don’t know exactly why she’s so desperate to get away, but we can guess.With the help of her sister , she finds shelter with an old friend and his daughter , and slowly begins to breathe herself back to life.
Australian-born writer-director Leigh Whannell, probably best known for his partnership with James Wan on blockbuster body-horror franchises like, plays fairly fast and loose with his source material — which feels more than fair, considering H.G. Wells’ original novel was released in 1897 — and its many subsequent film and TV adaptations.
But it also feels like a definitive cut above his previous films in both scope and ambition, even as he falls back too often on genre tropes and hole-y leaps in logic. A lot of the story’s grip-hold is owed to Moss’s performance: raw, jittery, and almost unbearably tensed, she’s a woman whose own body is a prison, as long as her ex walks around without one.
If the buildup and catharsis of its final minutes are more than a little silly, and marred by Whannell’s urge to put too neat bow on it all, the movie still has its satisfying jolts — including possibly one of the single most shocking screen deaths so far this year.
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