Episode 255: Frankenweenie

This week begins a stretch of episodes celebrating man’s best friend, in honor of Aaron becoming a first-time puppy parent. We start with the perfect dog film to discuss around Halloween, as it is filled with homage to classic monster and horror films of the past, but still has a sweetness to it that all pet owners can feel.

Frankenweenie Spoiler Review – 05:35

The Connecting Point – 49:11

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Feelin’ Film

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Episode 254: Man of Steel

This week we wrap up our six-part Batman v Superman event with the most recent solo Superman film. Zack Snyder’s interpretation of the character has unsurprisingly been met with plenty of divisive opinions. But us? We love this movie and we’re here to discuss why.

Man of Steel Spoiler Review – 0:18:50

The Connecting Point – 1:34:30

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Feelin’ Film

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Episode 253: Superman II

This week we continue our Batman v Superman celebration by covering the second of three films centering on the blue boy scout, the original theatrical sequel to Richard Donner’s “Superman”.

Superman II Spoiler Review – 0:14:31

The Connecting Point – 1:06:33

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Episode 250: Batman: Mask of the Phantasm

We discuss arguably the greatest Batman animated film of all-time, and one where the duality of Bruce Wayne/Batman is fully explored in addition to a uniquely sweet, impactful, and tragic romance for the character.

Batman: Mask of the Phantasm Spoiler Review – 07:48

The Connecting Point – 47:10

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Episode 242: The Martian

In this week’s episode we discuss one of our favorite films (based on one of our favorite books) and dig into what makes this science-heavy space survival story so entertaining while also being so emotionally provocative.

The Martian Spoiler Review – 0:15:17

The Connecting Point – 1:11:18

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Episode 229: The Amazing Spider-Man 2

In this week’s episode, we finish up discussing Andrew Garfield’s turn wearing the Spider-Man mask. Our feelings on this sequel are a little more contentious, but there is no doubt plenty to talk about between its two empathetic villains, beautiful romance, and ultimately one of the most iconic and tragic comic deaths of all-time.

The Amazing Spider-Man 2 Review – 0:06:04

The Connecting Point – 1:07:53

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Episode 228: The Amazing Spider-Man

In this week’s episode, we gush about our love for the first film of Andrew Garfield’s turn wearing the Spider-Man mask. With minimal comparing to other iterations (though some is necessary), we lay out the many reasons (i.e. practically everything) that make this our favorite live-action version of the character.

The Amazing Spider-Man Review – 0:11:26

The Connecting Point – 1:20:26

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Episode 226: Minority Report

For the month of April, our Patrons chose Steven Spielberg’s adaptation of a Philip K. Dick short story for us to discuss and this philosophically-focused conversation is the result. Fatalism vs. free will, privacy rights, and super cool not-so-far-fetched technology are among our topics.

Minority Report Review – 0:03:52

The Connecting Point – 1:03:35

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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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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.

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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.