The Invisible Man Movie Review

Finding its source material from the H.G. Wells novel that spawned a classic from the heyday of the Universal Monsters movies, Leigh Whannell’s take on the subject matter spins a 21st century play to the mix. While the title character wreaks his havoc, it’s the central woman in the story who is truly invisible. This is a horror tale in the #MeToo era and an often potent one at that.

We open with Cecilia (Elisabeth Moss) trying to escape her abusive marriage in the middle of the night without being seen. Her husband Adrian (Oliver Jackson-Cohen), we discover later, is a controlling and dangerous figure. He’s also a mega rich tech genius (think Tony Stark with far more personal demons). Cecilia manages to flee and stay with an old friend who’s also a detective (Aldis Hodge) and his teen daughter (Storm Reid). Afraid to even walk outside, her fears subside when Adrian is found dead of apparent suicide. The relief is short-lived when an unseen force starts stalking Cecilia yet again and all signs point to the apparently departed husband.

Whannell has been an integral player in the scares genre with his involvement in the Saw and Insidious franchises. He is a stylish filmmaker who knows how to construct a suspenseful setup. We have grown rather wearily accustomed to the jump scares that permeate these genre exercises. They are here, but I will say a couple of them really land the jab. There’s a scene in an upscale restaurant where still or sparkling water becomes an afterthought due to a genuinely surprising moment.

That scene and many others are tremendously assisted by the convincing and freaked out to the max performance of Moss. She conveys her fear of Adrian with wide eyed terror and, eventually, a resolve to change the power dynamic. The screenplay (from the director) smartly doesn’t employ flashback sequences to show her cycle of abuse. Her fear says enough. The two-hour running time is a bit out of the ordinary for this type of material and the final third is somewhat of a letdown when the plot becomes more literal with its explanations. However, with Moss’s work fully in control of her out of control situation, The Invisible Man is a creative modern rendering of a familiar monster.

*** (out of four)

Upgrade Box Office Prediction

Blumhouse Productions is out with its latest low-budget flick that hopes to generate high dollar figures when Upgrade debuts next weekend. The sci-fi horror revenge pic comes from director Leigh Whannell, best known for his involvement in the Insidious franchise (including directing its third chapter). Logan Marshall-Green, Betty Gabriel (best known as the creepy housekeeper in Get Out), and Harrison Gilbertson are among the cast. Early reviews have been decent as it currently stands at 73% on Rotten Tomatoes.

Upgrade is slated to open on a rather low 1400 screens and that will limit its potential. I would not anticipate this coming anywhere near the massive successes that Jason Blum and his studio have achieved with titles like the aforementioned Get Out, Split, or Happy Death Day. Instead it appears destined to premiere similar to BH Tilt’s lesser offerings like The Belko Experiment, The Green Inferno, or Incarnate – none of which managed to clear $5 million for their starts.

Upgrade opening weekend prediction: $2.8 million

For my Action Point prediction, click here:

https://toddmthatcher.com/2018/05/23/action-point-box-office-prediction/

For my Adrift prediction, click here:

https://toddmthatcher.com/2018/05/24/adrift-box-office-prediction/

Insidious: The Last Key Box Office Prediction

The first new wide release of 2018 is out next Friday when Insidious: The Last Key enters theaters. This is the fourth chapter in the franchise that began in 2011. Like Chapter 3, it’s a prequel to the events of the first two. In other words, no Patrick Wilson or Rose Byrne (the stars of the originals). James Wan, director and 1 and 2, produces with Adam Robitel behind the camera. Leigh Whannell, who’s served as writer for all of them, costars along with Lin Shaye, Angus Sampson, Josh Stewart, and Bruce Davison.

One factor that could assist The Last Key is the absence of horror flicks in the marketplace at the moment. That said, this franchise has been losing its luster. The 2011 original debuted to $13 million but legged out very nicely for its genre with an eventual $54 million gross. The 2013 sequel was the pinnacle with a terrific $40 million opening weekend and $83 million total tally. Chapter 3 in 2015 premiered to $22 million, but ended up as the lowest earner of the series with $52 million. 

I don’t see a compelling reason why part 4 will rebound. For comparison sake, I could see this performing similarly to 2014’s Paranormal Activity: The Marked Ones, which opened in the first weekend of January to just over $18 million. Like this, that was an entry in a franchise whose steam had dissipated. That number seems to be where Key fits best.

Insidious: The Last Key opening weekend prediction: $18.6 million

 

2017: The Year of Blumhouse

As 2018 is nearly upon us, today begins an exploration on what and who made a lasting impression on film in 2017. And it does start with a what – in this case, a studio.

Blumhouse Productions, founded by Jason Blum, kicked off in 2009 with found footage hit Paranormal Activity. It was a massive money maker that spawned numerous sequels. From then on, Blumhouse became known for their low-budget horror flicks. This includes the Insidious, Ouija, Purge, and Sinister franchises.

Yet 2017 has marked their banner year. This started immediately in January with M. Night Shyamalan’s comeback pic Split, which debuted to $40 million and earned $138 million overall domestically. Shyamalan will be working with the studio once again with its spin-off/sequel Glass, due in 2019.

The success kept going in February with the release of Jordan Peele’s Get Out. Earning $33 million out of the gate, the acclaimed horror comedy went on to make $175 million. It’s even garnering Oscar buzz, something rare for Blumhouse (a notable exception was 2014’s Whiplash).

In the fall, Happy Death Day premiered to $26 million and $55 million total. Not all of the studio’s offerings landed with audiences this year, including The Belko Experiment, Birth of the Dragon, and Sleight.

Still, there’s little doubt 2017 has offered Blumhouse its most high-profile successes. 2018 will look to replicate the wins with new Purge and Insidious editions and a reboot of the Halloween franchise.

My look back on the winners in 2017 onscreen will continue…