He still retains his status as a horror icon but we are never invited to sympathise or identify with him. The disturbing reality of abusive relationships is how easily they can be hidden around people, so using that as a major element of a story about the Invisible Man is kind of brilliant. The titular Invisible Man is now a horrifying gas-lighting sociopathic boyfriend who will find ways to hurt his partner in broad daylight and no one sees it or can stop him, taking this fantastical concept and grounding it in reality. Making the story all about a victim of domestic abuse is definitely an interesting way to take this story, one that really works well. This film not only has a genuinely incredible story to tell but the visual language that was created for it is astounding. I had insanely high expectations going in and he surpassed every single one of them.
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As a director, the man has some insane skills that were on full display in 2018 when he unleashed Upgrade onto the world (seriously, go rewatch Upgrade, it’s legitimately one of the best horror films in recent years) so when I heard that he was going to be the one handling The Invisible Man I was excited and optimistic.
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As a writer, he just seems to get how to construct a good horror movie, see his early work in the Saw franchise for a master class in how to just shred people’s nerves and in how to construct a horror movie plot. I’ve long been impressed by the work of Leigh Whannell. What unravels is a story of an abuser who is unwilling to let his victim go and will do everything in his considerable power to either get her back or destroy her life, clearly not having a preference between those two options. Soon after escaping, Cecilia learns that Adrian seemingly committed suicide but around the same time Cecilia can’t help but feel that she’s being followed by someone she can’t see. She only escapes with the help of her sister Alice (Harriet Dyer) who sets Cecilia up to stay with their friend James (Aldis Hodge). Namely “What if we actually looked at what the victim was going through instead?”.įor this new version of The Invisible Man, the movie spends all its time with Cecilia Kass (Elisabeth Moss), a woman who has just barely managed to escape from an abusive relationship with the obscenely wealthy scientist Adrian Griffin (Oliver Jackson-Cohen). Well, one of the films we were meant to get was The Invisible Man and after some serious rethinking of how to handle the property (namely “Hey, making a connected universe of movie monsters is not a great plan so how about we just tell some good stories instead?”) the reigns for the movie were handed over to Upgrade writer/director Leigh Whannell who came up with a pretty brilliant pitch. Remember that? Remember when we were going to get an MCU-style cinematic universe that would feature a ton of Universal movie monsters and then The Mummy bombed so hard that it basically killed the idea of a shared universe. BECOME A PATRON TODAY.It’s been done many many times and was due to be done again when The Dark Universe was a thing. KEEP US PUBLISHING FANTASTIC FEATURES LIKE THIS ONE. Music: Benjamin Wallfisch LIKE THIS FEATURE? Technical Director & Lead Artist: Matt Seckman
* Voted one of Art of the Title's Top 10 Title Sequences of 2020Įxecutive Creative Director: Helen Greene “It sets up the opening act well and, on second viewing, captures the gaslighting horror that is the rest of the film.” The eerie opening both foreshadows the film’s climactic battle in which water and liquids play a vital role and nods at a central tenet of horror storytelling: what is monstrous can be vanquished only once it’s revealed. It’s the “best modern re-imagining of the low budget horror movie title,” says panel judge Robin Nishio. To create the sequence, Greenhaus worked with a crew from Beverly Hills Aerials to capture drone footage off the coast of Palos Verdes, Los Angeles, chosen to match the look of the film’s shooting location in Australia. At the bottom of a cliff, in the half-light of evening, waves crash against rock, revealing the opening production credits, only visible thanks to the splash of the tide. From the first moments of the picture, when the massive letters of “Universal” rotate around the globe amid silence and an ominous rumbling, it’s all systems go on atmosphere. What’s remarkable here is what’s missing. Wells, studio Greenhaus GFX created a simple, spine-tingling title reveal. For the opening of 2020’s The Invisible Man, director and screenwriter Leigh Whannell’s retelling of the 1897 novel by H.G.
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