There is a lot riding on the success of The Invisible Man for Director Leigh Whannell. However, perhaps more weighs on the shoulders of the Invisible Man himself as a horror monster who is the first in the latest round of Universal Monsters reboots.
This film needs to be a hit for Universal Studios, Blumhouse, the monster, and the overall Monsters franchise. Judging by the box-office receipts this weekend, it looks to be a hit, at least financially. But is it good?
The short answer is yes. The longer answer is… very yes.
Reintroducing the Invisible Man
Leigh Whannell (Insidious: Chapter 3, Upgrade) directs the simultaneous adaptation and reboot of H. G. Well’s novel and Universal’s The Invisible Man series. Whannel does double duty as well, serving as the writer. The film stars Elisabeth Moss, Aldis Hodge, Storm Reid, and Harriet Dyer.
The Invisible Man has been in development roughly since 2007. In that time it has been attached to Johnny Depp and was considered to be a potential inclusion into a now-defunct shared cinematic universe that fell apart after The Mummy (2017). The project only truly took off when Jason Blum of Blumhouse Productions stepped in and it was decided to update these classic monsters as stand-alone projects.
What Works about The Invisible Man?
The film works incredibly well as a re-imagining of a classic. It is very much in the spirit and tone of the work of H. G. Wells. It utilizes contemporary horror aesthetics and modern technology to craft the Invisible Man into a real threat for today. This is especially true given that the film is dealing with very topical themes of stalking, the abuse of women, and how women are victimized at the hands of powerful men. This film is a feminist work, through and through. A better #MeToo film that last year’s Black Christmas by a large margin.
A lot of the feminist energy of the film comes from the work done by Elisabeth Moss as Cecilia Kass. Moss is one of the best actresses working today, becoming iconic across series like Mad Men and The Handmaid’s Tale. She is fantastic in the film and very much the reason why an invisible person is so menacing. Her horror, exhaustion, paranoia, and own eventual menace is propulsive. It helps that Cecilia, a survivor of physical and psychological abuse is also incredibly smart as a protagonist. Cecilia, for as much as she goes through, only falls into true despair once and becomes galvanized to seek her revenge after a pivotal scene of an innocent falling under attack.
The plotting is very tight in the film and there were no real shortcuts to position characters to where they needed to be for the film to play out as effectively as it does.
The Predatory Camera
What makes the movie stand out beyond being a solid reboot is that it does some truly interesting things with this take. What is most impressive, though, is the staging and shots. The camera becomes The Invisible Man in a very real sense at times. It is never quite clear (until the end) quite where the titular Invisible Man is.
The staging just makes it clear he is there and it is chilling. It gets even worse with some of the tracking shots. It makes the viewer complicit in the stalking. It’s unsavory. It’s damn good.
What Didn’t Work?
The tight plotting of the film can be a detriment to some of the surprise of more trope-literature viewers. Beats that you expect to happen by the introductions of certain characters, scene arrangements, and one very transparent Chekov’s gun moment may reduce the overall shock of the film. This is, of course, barring a very satisfying moment with a knife that sets up the climax of the film.
Despite the importance of the Invisible Man throughout the film, the character is, to a great degree, a non-presence (queue the laughs). We get very little of Griffin as an individual beyond predatory menace and a rather illuminating scene near the end of the movie.
This is a film that I feel might have benefited from some flashbacks to establish the abusive history between Adrian and Cecilia. The film works wonderfully in subtext and Griffin looms large over everything, both as an invisible body and a psychological specter.
I just feel it would be interesting to dive into his character a bit more. But on the other hand, I do not want to take away a second of screentime from Elisabeth Moss, either.
I’d be very curious about the potential of a director’s cut.
Blumhouse Productions has managed to tackle one classic 1970s horror icon in Michael Meyers. With The Invisible Man, the sights were set further back and the studio has not missed a beat. If this film is indicative of the Blumhouse approach to future Universal Monsters then fans are in for a real treat. (5 / 5)
Please read about some of our other horror reviews here at Haunted MTL and share your thoughts on The Invisible Man in the comments.
Shutter Island (2010): Review
Leonardo Dicaprio’s films rarely disappoint. It was interesting to see him flex different acting muscles in this psychological thriller Shutter Island alongside Mark Ruffalo and Michelle Williams. When I say that I was not expecting such a turn in the story, I mean that my jaw was pretty much on the floor the entire time. Without any further ado, let’s dive into its mastery, shall we?
A cliché setup done right
We have been here before a million times. A character stumbles into a scene to solve a mystery. Everyone is acting just the right amount of suspicion to make you wonder. Dicaprio’s Edward ‘Teddy’ travels to an extremely remote island where a woman goes missing from a psychiatric institution. He’s experiencing migraines and flashbacks to his murdered wife while receiving little to no help from the hospital staff.
Teddy soon suspects that the hospital is experimenting on patients which fuels his theories on what happened to the missing woman. Things take even more of a turn when his partner also disappears. Unsurprisingly, everyone insists Teddy came to the island alone. Feeling like he’s losing his mind, our protagonist finds out that this is exactly the case. He is a patient in the hospital and the entire investigation is an attempt to get him to understand the truth.
While the whole ‘it was all in your head’ trope has a bad rep for the fans of any genre, this film uses it masterfully. Watching it for the first time not knowing what to expect is obviously a shock and then watching it again, looking at all the clues that were the which you missed – that’s a treat on its own. After all, there’s nothing inherently wrong with using cliches if they are done the right way.
Things that go bump in our minds
A huge part of this movie’s storyline is Andrew’s inability to process the truth. The roots for it stretch far beyond the plot twist. Andrew is unable to acknowledge that his wife is mentally ill and believes that moving them to the countryside will fix everything. After she murders their children, he is further pushed into the world of delusion, convincing himself to be a hero because he couldn’t save his own family.
It’s interesting to note that in his delusion, Andrew is the one who set fire to their house. Is this a little sliver of his mind whispering the truth to him? Is it his subconscious villainizing himself out of contempt, searching for answers that are never going to come? Andrew’s psychiatrist pointed out that his moment of clarity has happened before, only to be undone quite quickly. Perhaps it was easier for Andrew to shut it off rather than live with the knowledge that he could’ve done something to prevent a terrible tragedy.
Shutter Island is a movie that provides both the entertainment value you would expect from a suspense thriller and a deeper layer of thought. Coated with a perfect atmosphere and amazing acting, it’s a piece that will definitely hold the test of time. (4.5 / 5)
Wheel of Time, Daughter of The Night
We’ve reached episode four of Wheel of Time, which means we’re halfway through the season. While it doesn’t seem like much has happened so far, this is the episode where things start heating up.
We begin this episode with a flashback. Ishamael is raising something dark and twisted. As we watch, it takes the shape of a woman.
More on that in a bit.
Meanwhile, Nynaeve is healing from her time in the arches. She is quiet and withdrawn. She’s also awkward and uncomfortable around Egwene now that she’s initiated and Egwene is not. Her new friendship with Elayne isn’t helping.
But the three girls come together when Liandrin tells Nynaeve that Perrin has been captured by the Seanchan.
However, Perrin is no longer in the clutches of the Seanchan. He was rescued by Elyas and a pack of beautiful wolves. Beautiful and deadly AF by the way. If you have any fear of dogs, this episode might not help that.
Elyas explains to Perrin that he is a Wolf Brother. This means that he can communicate with the wolves, and eventually will gain some of their abilities. While Perrin and Elyas don’t exactly get off on the right foot, he does find a fast friendship with one specific wolf. After a time, he introduces himself by showing Perrin an image of himself jumping up and down. From this, Perrin assumes his name is Hopper.
Finally, we return to Rand. He and Selene have been off in the mountains. They haven’t done much more than each other so far.
And that’s exactly what it appears they’re about to do when Moiraine bursts into the cottage and cuts Selene’s throat.
Rand is surprised and furious until Moiraine explains that the woman he knows as Selene is the Dark Friend Lanfear. With this shocking revelation, the two run off into the night.
It should be a surprise to no one that I loved the wolves in this episode. Hopper himself was worth an extra Cthulhu. But this is not just because dogs are cute. It’s also because the dog playing Hopper just does a great job.
On a more serious note, I loved how Nynaeve responded upon coming back to the real world. She isn’t okay.
And it’s a good thing that she isn’t. Too often in fiction we don’t see the fallout of emotional damage. Hell, we don’t usually see realistic fallout from physical damage.
But she is hurt by what she experienced. And you can tell. That’s realistic character building, and we don’t see that enough.
I also really appreciate the special effects in this episode. The first time we see Lanfear, she’s eerie. She’s frightening. Part of this is thanks to Natasha O’Keeffe, who does a great job. But the effects are what really sells this.
What didn’t work
If Wheel of Time has any fault, it’s that there is far too much sitting about and talking about things. In this case, there’s a lot of standing about and talking about things. Some of this was necessary, and some of it could have been done better. Honestly, there just has to be a better way to convey that characters are struggling.
This was most apparent with Rand and Selene/Lanfear. Honestly, anytime the two of them were on screen it was a great time for me to catch up on Instagram.
This might come as a surprise to anyone who hasn’t read the books, but Rand is supposed to be the main character. And here we are, four episodes into an eight-episode season, and so far all he’s done is mess about with his emo girlfriend!
That being said, the story is starting to pick up. With four episodes left, I can’t wait to see how far we go.
(3 / 5)
Elevator Game, a Film Review
Elevator Game (2023) is directed by Rebekah McKendry and is the first feature-length production of Fearworks.
Elevator Game (2023) is directed by Rebekah McKendry and is the first feature-length production of Fearworks. It adapts the supernatural myth and creepypasta of the same name while providing an original plot. This unrated Shudder exclusive stars Gino Anania, Samantha Halas, and Verity Marks. In full disclosure, I had the opportunity to interview Gino Anania and Stefan Brunner about the film.
Ryan seeks to find answers to his sister’s mysterious disappearance. To do this, he infiltrates a myth-busting web series that seems to have some ties to her final confirmed moments. Desperate to force a confrontation, he encourages them to play the elevator game. Unfortunately, there seems to be more truth to the myth than expected.
What I Like about Elevator Game & as an Adaptation
I am lucky to have additional insight into the development hell this movie overcame due to COVID. It’s commendable that the film manages to make it of that, even if it requires a lengthy delay of the film.
Usually, I provide a separate section for adaptation quality. However, the source material remains the ritual, which Elevator Game performs accurately. While the myth inspires many creepypastas, Elevator Game doesn’t directly take or adapt any of these works from what I’ve seen. Instead, it makes its own film based on the legend.
As the Fifth Floor Woman, Samantha Halas creates an eerie and disturbing character. While I won’t go so far as to say terrifying, she certainly makes an impression. The revelation that the stunts and performance are all her, as an actual contortionist, I give her more credit.
Gino Anania, given a more complex role than most of his cast members, really does bring a strong performance that creates either friction or synergy with his cast members. I suppose I wanted more of these interactions as some cut sooner than appreciated.
Another amusing element is that the entire motivation for the plot to follow is a forced advertisement from an investor. Something about the chaos being a product of appeasing some investors feels uncomfortably real.
The alternate reality remains surprisingly effective. To be clear, it’s not impressively realistic but stylistic. It genuinely seems like an alternate world with a skewered impression.
Tired Tropes or Trigger Warning
I feel weird mentioning this, but endangering a sister’s life to push the brother’s story forward seems a common trend beyond one form of media.
No discredit to the actors, but the romance feels rushed and unnecessary. Without going into too much detail, to avoid spoilers, there is synergy between the actors but little chemistry in the plot.
What I Dislike or Considerations
Elevator Game remains set in providing a B-movie experience. Its tight budget leaves little room to surprise the viewer visually. While I am surprised at what it accomplishes, it’s far from overwhelming. This film also remains the first production of Fearworks, which shouldn’t surprise anyone. I’m interested in the future, but Elevator Game leaves much to grow from.
Rebekah McKendry may have a directorial style that influences dialogue, but the line delivery evokes an overexpression that’s common in Lovecraftian films. I say this not as a direct negative, but it remains a required taste best known before viewing. As this isn’t Lovecraftian, I fear it removes some of the reality and tension of those haunting elements.
Many of the characters feel underdeveloped, making me wonder if cutting these roles might lead to more invested characters. While the performances hit their marks, a tighter cast might give each role more to work toward. As this is a tight cast already, it seems an odd issue to rectify.
Elevator Game provides an interesting B-movie experience for those who know the legend. For those expecting something different, this film may not work for you. This film overcame a lot to exist but doesn’t break the mold. While I am excited to see Fearworks pursue further ventures toward its ambitious mission statement, I find Elevator Game falling short of its goal.
(2 / 5)