Episode 219: The Invisible Man

This week we’re discussing director/writer Leigh Whannell’s sci-fi/horror modern remake of a Universal Pictures Classic Monster movie. With a stunning performance by Elisabeth Moss, incredible visuals and sound, and a plot that fits perfectly in our current times, this intense perspective-switching story is ripe for a conversation about trauma, abuse, and how to relate to those who’ve experienced them.

The Invisible Man – 0:02:41

The Connecting Point – 1:05:45

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What We Learned This Week: February 23-29

LESSON #1: BOB IGER’S LEGACY IS ONE OF ACQUISITION— The biggest news of the young year on the business side of the movie industry dropped this week with the planned retirement date of Disney CEO Bob Iger. Without a doubt and spending with deep pockets, he turned the most popular family brand niche around into a media powerhouse. The purchases of LucasFilm, Marvel, Pixar, and 20th Century Fox were during his leadership tenure, as were numerous additions and expansions like a theme park in Shanghai and everything surging with Disney+.  I know Walt’s name is on the sign, but you could start naming a few streets and board rooms after Iger and the honors would be warranted.

LESSON #2: NO, SERIOUSLY, STOP WATCHING TRAILERS— I feel like little suds from my usual soapbox are going to always be around. That is especially true when I see another story of a meddlesome studio over-selling a film and ruining its potential essence. The case this time is Leigh Whannell’s wishes for Blumhouse not to further advertise the twists and action of The Invisible Man. I’ve heard critics report that too many scares from the movie are tipped off from the trailer. I feel like horror films have it worse with this problem than other genres. Expect it to continue until you be a discerning consumer that avoids trailers. Let’s start rubbing the worry stone right now for Candyman. That’s another teaser that, even with quick editing, shows too much.

LESSON #3: IT’S THE LITTLE THINGS THAT HELP YOU STAND OUT— We’re seemingly getting to a saturation point with the streaming services where they all need to look the same and work the same to get customers comfortable.  I remember hearing about the Netflix-like screen functions that folks clamored to have on Disney+ after its launch in November. While content and price point always win, I do appreciate little nuances that can make something stand out. As a physical media fan and special features nut, I dig what Amazon Prime Video is doing with their Trivia Section. I love the easy information right there at viewers fingertips. Maybe little perks like that can get us off of our devices to watch and learn all in one place. Nice work, Amazon.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#124)

MOVIE REVIEW: The Invisible Man (2020)

Rating: R / Runtime: 1 hour and 50 minutes

Going back to its original roots as a novel by H.G. Wells and one of the original Universal Pictures Classic Monster Movies, the story of “The Invisible Man” involved a man whose experiments make him unseeable and eventually lead to a descent into madness and violence. For this modern reboot of the film franchise, writer/director Leigh Whannell brings the character crashing into the #MeToo era by centering this story on not The Invisible Man himself, but rather his primary victim. Whereas previous entries have been all about how a person deals with the effects of a strange new ability, Whannell’s film focuses on the perspective of those who suffer from a maniac’s abuse of power and control.

The film opens with an absolutely stunning night-time sequence of Cecilia Kass (Elisabeth Moss) suspensefully escaping the gorgeous, isolated home she shares with her brilliant, extremely wealthy, Optics scientist partner Adrien (Oliver Jackson-Cohen). Right from the start, Whannell lays out the kind of experience this film is meant to be, relying on skillful precision in cinematography by Stefan Duscio and a powerful, terrifying score by Benjamin Wallfisch to always keep the audience intensely on edge. Cecilia is a woman who we immediately understand is the victim of awful and frequent abuses. She is clearly terrified and we hold our breath while silently praying she gets away from a man we literally know nothing about yet. And this is merely the beginning.

After living in fear for a few weeks, Cecilia learns that her ex has committed suicide, and she is free to begin healing from the horrible domestic and sexual abuse we learn he committed. But she doesn’t really believe it, and it isn’t long before mysterious things begin happening, signaling to her that someone, or something, is stalking her from outside her view. It should come as no surprise to anyone that’s seen much of Moss’ filmography that the actress is as good as they come, and her performance here ranks among the best she’s ever given. For most of the film, she is in a growing state of panic, slowly losing her sanity, and displaying every emotion one could possibly imagine a victim of these evil crimes might experience. Her ability to convey fear, distrust, and deep deep pain via facial expressions and voice inflection is incredibly impressive and also extremely difficult to watch. 

Despite support and assistance from loved ones like her sister, a childhood friend who is conveniently now a police officer, and his teenage daughter, Cecilia struggles mightily when no one believes her claims that an invisible man is out to get her. The terror he eventually begins to reign on her is some of the best supernatural horror you’ll see. It’s minimalistic for so long in a way that makes the special effects extremely impactful when they do happen, and the same can be said for the film’s reserved use of physical violence. For most of the film, it’s emotional and psychological abuse that Cecilia faces the most, but you can always feel the intensity building to something. Eventually, there are a few spots where brief outbursts of bloody action occurs, often in rather shocking fashion. The film is never too gory, though, so viewers fearing an all-out slasher flick need not worry much. 

I can’t express enough just how wound tight “The Invisible Man” is from start to finish. This is a pressure cooker of a thriller where your body is constantly clinched as you are made to feel as if you know where this hidden assailant is at all times, just waiting for the moment when something extreme is going to happen. Sure, it’s got its share of jump scares, but most are effective and play very well with an excited audience, as does the action choreography, a continuation of the great work Whannell did in 2018’s “Upgrade”. Fight sequences with The Invisible Man are especially wonderfully crafted and very memorable.

“The Invisible Man” puts a new spin on a classic horror property with a sci-fi twist, plenty of surprises, and an all-too-real story from the perspective of someone who is tormented by her long-time domestic abuser. It is not always easy to watch, and trigger warnings definitely apply, but for those who can stomach the painful brilliance of Moss’ exceptional traumatic performance, catharsis and a genuinely unnerving but entertaining experience is to be had. Universal has finally figured out what a new line of monster movies can look like, with truly evil and unredeemable villainous fiends and social metaphors delivering a contemporary vision all their own. Let’s hope this is the start of a great franchise and not just a splendid flash in the pan.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 133: Upgrade

To celebrate Halloween, we’re covering this 2018 sci-fi action thriller with horror elements to it. We love a good exploration of how humans interact with new technology and Leigh Whannell’s UPGRADE gives us not only plenty to ponder but an entertaining, kick-ass delivery system for its big ideas. This is a fun conversation and one that had us asking ourselves some tough questions. Enjoy!

Upgrade Review – 0:01:47

The Connecting Point – 0:54:20


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Music: Going Higher – Bensound.com

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MOVIE REVIEW: Upgrade

UPGRADE (2018)

I’m really going to miss Movie Pass. I’ll understand when it goes away. It makes sense that it would fail. But I’m going to really miss going to see a movie I’d never even heard of on the spur of the moment because it’s already paid for. Without Movie Pass, I never would have seen Upgrade.

Leigh Whannell’s Upgrade takes place in the near future and tells the story of Grey Trace (Logan Marshall-Green in a performance that will help me finally stop confusing him for Tom Hardy), a man who has just witnessed his wife’s murder and been paralyzed and left for dead by his attackers. When he’s given the opportunity to regain the use of his arms and legs thanks to an experimental new technology called STEM, he uses his new lease on life to hunt the people responsible for his wife’s death while attempting to stay one step ahead of the cop assigned to the case (Betty Gabriel). But it’s starting to look like there’s more to this STEM technology than meets the eye.

Upgrade is a tense, violent thriller with solid action and a dark sense of humor. While it’s not scary, it’s not difficult to see that Leigh Whannell cut his teeth in the horror genre as the film slowly builds to it’s frenzied third act. It creates a fascinating future world that feels real and lived in thanks to some cinematography by Stefan Duscio. You don’t have to suspend disbelief to buy into this being the way the world looks in just a few years. When you put those two together with a solid performance from Marshall-Green, it adds up to my favorite movie of the summer thus far.

If you’re suffering from franchise fatigue and craving an original, self-contained story outside of any cinematic universes this summer, you could do a lot worse than Upgrade. Did I mention it’s only 95 minutes long? It’s great! Thanks Movie Pass!

Rating:


Jeremy Calcara is a contributing member of the Feelin’ Film team. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Insidious: The Last Key

INSIDIOUS: THE LAST KEY (2018)


GOING IN

The INSIDIOUS series has always been a guilty pleasure of mine. I acknowledge that it isn’t the best horror out there, but I very much enjoy the first two films in this franchise, and due to a strong final act I even don’t mind the third chapter. The concept of The Further and exploring a place where spirits roam while trying to attach themselves to the living is certainly an intriguing one. While James Wan has gone on to make much more masterful horror films in THE CONJURING series, his ability to create atmospheric dread made the series one I could stomach more than the blood and gore pictures in this genre. Admittedly, INSIDIOUS: CHAPTER 3 was a letdown and Wan’s absence was felt as co-creator Leigh Whannell took over directing duties. Now director Adam Robitel is attached for yet another Lin Shaye led sequel. It’s not unheard for little known horror directors to surprise with a good film, but it is rare that fourth entries in a horror franchise ever live up to their original material. I’m going into this one with pretty low expectations and hoping to be pleasantly surprised.

1 Hour and 43 Minutes Later.


COMING OUT

 

INSIDIOUS: THE LAST KEY begins with a flashback to a young Elise (series star Lin Shaye) living in her home on a prison campus. This insight into her childhood family dynamic and living situation immediately sets the stage for what will be her most personal haunting experience yet, when she returns to this childhood home much later in life to face off against a sinister demon. The details behind this particular occurrence are fairly dark in nature and the plot gets even more serious as it progresses. It’s actually somewhat shocking that the film maintains a PG-13 rating with the heavy content, but like other films in the series it does shy away from blood and guts, relying more on jump scares and atmosphere to provide the audience a sense of fear. Those scares are hit or miss, with a few genuine moments of surprise but many more of the telegraphed typical horror film variety. While some scenes may give audiences a quick jolt, the film never creates any lasting feeling of terror.

Returning to pen this entry (as he did the previous three) is series co-creator (and director of INSIDIOUS: CHAPTER 3) Leigh Whannell. Whannell also stars in the film as Specs, part of the sidekick ghost hunting duo that provide technical assistance to Dr. Elise Rainier. You may notice the wording used in that last sentence and find it odd. After all, Specs and Tucker have never been the focus of any previous INSIDIOUS installments, but rather provided important brief moments of levity to give audiences a chance to breathe and have a break from the tension. One of the major problems with INSIDIOUS: THE LAST KEY, though, is that Whannell has taken Specs and Tucker from fringe supporting characters almost all the way to centerpieces. In a trend that began with INSIDIOUS: CHAPTER 3, their screen time has increased and so have the one-liners and goofy actions. Because of their frequency this makes the film feel like almost half comedy. Instead of the jokes being used as levity, they are gags that bring attention to these characters, taking the audience out of the tension built up. It’s almost like two guys from a buddy cop comedy got dropped into this horror movie. It feels very, very weird. Whannell also really gets lost in his story, and as it gets deeper and darker it also becomes more convoluted. There are some really interesting ideas, but he just doesn’t deliver them in narrative form in a crisp understandable manner. The time travel element that takes place in The Further, in particular, has never been explained well and is no different here. Understandably there is some disbelief that must be had to accept the fantastical nature of the spirit world in the INSIDIOUS franchise, but the decisions here just take that further (pun intended) than most viewers are going to be willing to go.

Also disappointing was Robitel’s male gaze as a director. This is something that I have only recently started to notice, but did so multiple times in this film and one particular scene is an egregious example. It’s because of this scene, which focuses the camera up close on a female’s heaving chest for nearly 30 seconds as she lays on the floor gasping for breath, that it became hard to take the two new young female characters very seriously. So little devotion is given to developing their characters and in the end they are simply a plot device and object of desire for Specs and Tucker. Robitel does manage to create solid atmospheric fright at times. His framing of character faces within scenes where action is taking place in the background was something that stuck out as a positive, and the opening section of the film was quite strong as well. Additionally, the demon design and way in which it attacks is unique and scary, even if it does move a bit like The Crooked Man from THE CONJURING 2.

VERDICT

Continuing the downward spiral after a solid first two films, INSIDIOUS: THE LAST KEY deserves to be locked away and forgotten. Whannell’s script puts way too much focus on himself and his comedy sidekick, while also taking a strong opening idea and making it so complicated that its difficult to take seriously. Robitel’s direction isn’t all bad, and the physical atmosphere is appropriately creepy, but the objectification of two younger female characters is hard to ignore. The INSIDIOUS franchise under Wan’s hand was great, but it has now lost the focus it once had and it’s time to use THE LAST KEY to close the door on these ideas for good.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.