Leigh Whannell’s reimagining of the classic Universal Studios horror film The Invisible Man starts where many movies of its genre end: A tense escape. When we meet her, we know virtually nothing about Elisabeth Moss’s character, Cecilia, other than that she needs to get out of where she is. The location is a gorgeous beachfront property whose facade is almost entirely made of glass. It’s outfitted with a security system that she must disarm quickly, lest she gets caught. The man she’s escaping dozes in bed, apparently drugged by former contents of the Diazepam bottle she (and the camera) scrutinizes. She is able to finally break free, sliding into her sister’s car with that now awakened guy on her heels.
, whose press tour repeatedly reminded us that the film was about trauma in an apparent attempt to convince us that what we were seeing was something more valuable than another crappy/funcleverly walks the walk. Two weeks after her escape, Cecilia is staying with a cop friend James , but still shellshocked. She paints over the webcam built into her laptop to thwart surveillance. She rattles when a jogger brushes up against her when she dips a toe outside.
About midway through the movie, the invisible man makes his presence undeniable by beating up Cecilia in James’s house. She is held up by her neck, slammed against the wall, and thrown across a room. So brutal is this scene that if a visible man were depicting doing it, it would likely be too extreme for the mass audience this movie is attempting to attract . I felt the moral center of the movie evaporating, leaving the residue of trash.
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