Elisabeth Moss does justice to the role of the hunted woman in The Invisible Man. Australian writer and director, Leigh Whannell, revives the story in a fresh twist with a new perspective. The first two acts stay faithful to the genre and are subtle. The flow of blood suggests an end of suspense and the beginnings of more predictability. The climax is reasonable but still leaves something to be desired. However, the performances by the principals were extremely good and the jump scares were not out of place.

The film starts with The Invisible Man’s abused wife escaping from her psychotic, narcissistic husband. The actress, Elisabeth Moss plays Cecelia Kass who one evening quietly leaves a bag containing a few of her personal belongings. Her husband Adrian (Oliver Jackson-Cohen) is fast asleep, totally oblivious to what is going on at home as she had drugged him the evening before. In this way, Cecilia stealthily traverses through a beach side house full of odd things until meeting her sister (Harriet Dyer) on a dark street when it dawns on her that the getaway wasn’t as clean as she envisioned.

Cecelia is staying at the house of an old friend Aldis Hodge who has a daughter also a teenager Storm Reid. There are circumstances which make it impossible for her to leave the house for weeks — fear — this is until some news comes for her peace of mind. She comes through a phase where a good future seems to be around — after these weeks Cecelia hopes for a better future which has just come but it is too good to be true as disturbances start occurring within their rooms which makes her feel as if they have someone always watching them and the suspicion metamorphoses into sheer terror and every one glares at her and says that she is not in touch with reality and does not know the life of men who based women at all, which, very naturally as far as the victim of domestic violence is concerned, seems terribly out of place in an overly dramatized scenario when one imagines just how vicious and violent her spouse is with a glance. But the story does end as most of the people who have handed in the script would wish it to end.

During its peak moments, The Invisible Man becomes a story of a single woman. There is no doubt on the part of Elisabeth Moss, after all it is a raw performance. Almost from the very start she appears to be terrified. Her movements, her contortions, her general demeanor and her weepiness, suggest that the end is near. One would expect to take a straight punch to the jaw. It may come as a surprise, but Moss performs wonders without saying a word, and it is also the most natural thing in the world: her character in this case cannot be at ease because she knows the head of a master scoundrel. She excels in this part. This would be very bothering if we weren’t to trust her because this would make this version of the tectonic plates of the Universal Monsters movies a senseless pit.

The earliest scenes set inside the house are fine as executed by Leigh Whannell. Out of the Saw and Insidious franchises, this is what drives him to the apex of a psychological writer. He focuses on Elisabeth Moss the most, but cuts to quick close up reaction shots of her focus on things which makes editing very smooth in a manner that enables your imagination to run loose. Even when someone or something is trying to be seen through her or when what lies in the darkness is examined by the spectator, especially when Cecelia views the solitary chair directly in front of the ruffled seat cushion that once was, the audience asks the shot to stay still till it comes back to the cut off point, showing a chair that is now unoccupied but still implies that there is an unseen force which is watching everything and waiting. His aim, like others that expertly punch the audience back into their seat at every jump scare, is to time his attack so that he fully garners the before black wallpaper that at the moment surrounds the ugly site intended.

All starts falling apart when horror theatrics and revenge become predictable in the invisible man too much for it to remain eerie and sinister gal with gun kicks ass or instead deviates into pedestrian bullets and blood hence although some satisfying instances of subjugated woman turning tables, previous sections were much more intelligent than these ones but you will indeed be fascinated by the portrayal of Elisabeth Moss who has appeared most powerful since working in mad men so far as this blum house production distributed by universal pictures is concerned.

Watch Free Movies on o2tvseries

Leave a Reply