This is not your father’s or, for that matter, grandfather’s TheInvisibleMan
) has imaginatively gone in a different direction by meeting the requirements of the title both literally and figuratively. At the same time, the movie stakes a claim for new mystery-horror territory worthy of a talent like Elisabeth Moss, who amplifies the qualities of the script with a top-shelf woman-in-severe-jeopardy performance.
Heading to nearby San Francisco , Cecilia counts on her sister Emily for some support and is temporarily welcomed into the home of longtime friend and cop James and his teen daughter Sydney . Things continue to look up after Adrian is officially declared dead — by apparent suicide — and his surviving brother informs Cecilia that she’s been left $5 million in the will.
What’s promising about Whannell’s yarn at this point is that he’s spent a good deal more time encouraging the viewer to get close to Cecilia and her little support group than he has in pushing genre buttons. Moss, Hodge Reid and Kass are all open, inviting actors who earn our investment in their emotions and dilemmas.
Unsurprisingly, things go from bad to worse for the protagonist as the obsessed and disruptive Adrian astutely judges when to make life difficult for someone he allegedly cares, or cared, about. 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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