| Universal Pictures | Release Date: February 28, 2020 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
48
Mixed:
7
Negative:
3
|
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Critic Reviews
Mar 1, 2020
Moss shifts into another gear for the truly disturbing finale, when those eyes flicker with thoughts of revenge and events unfold in a way that remind us that Whannell’s big break was as the screenwriter of Saw. The Invisible Man ends on a nasty note, but then again the 1933 film was nasty too. Given the omnipotent power of invisibility, humans apparently do their worst.
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Feb 24, 2020
Moss also strengthens the notion that this is a monster movie unusually interested in looking past the toxic-male machinations of its famous character and toward the lasting horrors left in his wake. In other words, the stuff that previous movies, and real life, have sometimes tried to turn invisible.
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Feb 26, 2020
Feb 26, 2020
Working from his own tight script, Whannell demonstrates an admirable ability to place the wet-yourself shocks where you least expect them. Benjamin Wallfisch’s insidious score complements later action, but the director is prepared to play out the opening conflicts with no music whatsoever. Great thought has gone into the architecture of this ingenious structure
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Feb 25, 2020
You’ll find yourself scouring the frame for this malign force in the tiniest refraction of light. Whannell knows you’re doing it, too, and lets scenes go on so long, you start to doubt your own eyes. There shouldn’t be any doubting the magnetic Moss, though: she’s the real deal.
Feb 24, 2020
This gratifyingly clever and, at times, powerfully staged thriller is too rooted in our era to be called old-fashioned — its release, in fact, feels almost karmically synched to the week of the Harvey Weinstein verdict. Yet there’s one way that the movie is old-fashioned: It does an admirable job of taking us back to a time when a horror film could actually mean something.
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Feb 27, 2020
When Whannell’s movie is at its best, the audience is not just a witness to the terror; we are part of the machinery that inflicts it. Which is not to say that — when it works — this remake of James Whale’s 1933 classic is a success born of camera placement, special effects, or even conceptual daring.
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Feb 27, 2020
Feb 27, 2020
Moss, whose gift for speaking volumes with purposeful stares is well-documented on "The Handmaid's Tale," perfectly captures the sense of invasion Cecelia feels, and at first, helplessness. Her growing strength, in the face of such an overwhelming threat, is the movie's most empowering element.
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Feb 24, 2020
By the time the film begins approaching the two-hour point, the feeling sets in that perhaps Whannell is stretching his conceit a bit too far for its own good. But it’s hard to deny his ingenuity and flair with genre tropes and keeping his audience somewhere approaching the edge of its collective seat.
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Feb 26, 2020
The Invisible Man loses its personality as it tumbles into the third act, and with it goes a lot of the emotional fiber Moss has worked so hard to spin into something rich and memorable. She still holds her own as the movie crumbles around her, but her performance deserves better than what Whannell ultimately gives her.
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Feb 26, 2020
The Invisible Man is not as smart as it could have been, but the concept is ingenious even if the execution gets slapdash. And with Moss at the center, it doesn’t matter all that much — she sells what’s approached as B-movie material with the unwavering dedication of someone starring in a prestige biopic.
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The GuardianFeb 24, 2020
There’s fun to be had here, thanks to Moss and an involving set-up, and given the state of multiplex horror, especially at this time of year, this is a striking diversion. But Whannell gives us just enough to make us want more and despite the stretched 125-minute runtime, he can’t quite deliver what he loosely promises.
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The PlaylistFeb 27, 2020
The Invisible Man is inarguably well done, and this is one of Elisabeth Moss’s best performances, but this is the kind of subject matter you can’t short-shrift. This is life-altering, traumatizing stuff, but in privileging horror shocks over emotional reality, this film unmasks itself. It’s not as interested in abuse victims as it is cheap thrills.
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Feb 26, 2020
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