I wasn’t instantly sold on writer/director Leigh Whannell’s revival of The Invisible Man. I saw the Claude Rains version over forty years ago on late-night TV, courtesy of our local horror-host Sammy Terry, but I’ve never revisited it since. I’d seen none of Whannell’s films to date, though Upgrade is on my to-do list. When this was first announced years ago as an entry in Universal’s “Dark Universe” plan to imitate Marvel’s success at interlocking products, I scoffed and moved on. I assumed the eventual results would be a muddled waste of time.
Two developments in its favor convinced me to give it a try: Elisabeth Moss, who was always great on Mad Men and deeply disturbing in Jordan Peele’s Us; and unusually positive word-of-mouth. Horror films aren’t an easy sell for me, but the glowing reviews weren’t the usual fans raving about super awesome epic kills. The trailer telegraphed some of the zeitgeist-eriffic themes at play, and yet I was curious to know more.