The Invisible Man 4K 2020 Ultra HD 2160p

The plot is based on the eponymous novel by Herbert Wells. The plot will focus on Cecilia Cass, who for a long time was in a relationship with the cruel and wealthy scientist Adrian. Once she breaks out of control, which is why Adrian commits suicide. But after his death, it begins to seem to her that someone invisible is watching her, who is very similar to her former lover.

The Invisible Man 4K Review
Cecilia wakes up in the middle of the night. Gently removes the boyfriend’s hand. Sneaks to things and leaves the house. An accidentally triggered alarm destroys all plans: it is awkward, but quickly climbs over the fence, crosses the forest and enters the highway. A friend should be waiting for her on the road, but there is still no car. Peering into the thicket, she expects Adrien to jump out now. When Cecilia gets into the salon, her fears are justified. Crazy boyfriend breaks the glass, but the girls manage to escape.

It takes several weeks. Cecilia lives with James and his daughter and is trying to get used to life without an abyss. Goal number 1 is to get letters from the mailbox ten steps from the door. The record result for today is to come close, but, frightened by the guy who ran alongside, to rush back to the house. However, the unexpected news saves Cecilia from madness: Adrien committed suicide, which means that the days of paranoia are over. But soon she begins to think that the ex-boyfriend is stalking her after death.

Blumhouse Studio, known for its acutely social horror (“Away,” “Doomsday”), has recently become even more active in representing actual issues. From the latter, we can recall the failed Black Christmas with its deliberate girl-power context, where toxic masculinity was exposed through a story about murders in a female hostel. In the final, it turned out that the whole men's club was to blame, the members of which slaughter progressive girls, because they threaten patriarchal foundations. “The Invisible Man”, created in collaboration with Universal Studios, which has been tormented by the monster universe, is a similarly engaged movie, but already more meaningful.

As you might guess, it says abyuze. More precisely, how difficult it is for a woman in modern society to confirm the status of a victim and prove the fact of violence. Cecilia performed by Elizabeth Moss, in whose eyes frenzy often flashes (this year, viewers can see her in the image of another emancipated, but also mentally broken woman in the Shirley biopic), just embodies a similar type. Seeing a threat in everything - even in rustling and blowing winds - and unable to find outside support, she is doomed to remain misunderstood. This beautifully reflects the current situation, where the victim of abyuza (especially in our country) has to overcome public distrust and face skepticism that reaches the point of absurdity.

Here, the role of Wonnell himself is understandable. His work in The Invisible Man, as in Upgrade, is quite formalist. And it consists in creating a feeling of foreignness, unnaturalness of the environment. Often the camera does not move behind the heroine, but in spite of her movements: somewhere to the side, studying the lifeless space of a modernized philistine America. But in the best scene of the film, which was still lit up in the trailer (the one where the antagonist muttered guards and police in the hospital), all tricks were borrowed from Wonell’s second film: from shooting supposedly from a badie-cam to mechanically creepy editing. On the one hand, it looks funny; as if the director had mastered several techniques and pedaled them from time to time. On the other hand, in the story of a stranger who again burst into his usual way of life, such self-repetition is organic.

Problems begin when Wonnell temporarily slows down and tries to develop the theme of domestic violence, which is already boldly outlined at the very beginning, and forgets about vivid formalistic scenes. It is one thing when key social issues throughout the story are complicated by twists and nuances that radically change the situation. But in “Invisible Man” right up to the final, in principle, there is no uncertainty. Adrien is a bastard and a manipulator, a man exposing his former insane. On behalf of Cecilia, he writes a rude letter to her friend and beats the daughter of James (everyone, including the child, of course, would rather believe that the heroine is inadequate and blames the dead guy). The feeling of paranoia is not achieved here - the viewer knows about the existence of an antagonist from the very beginning and rather follows the girl’s attempts to convince the rest of the characters.

Therefore, The Invisible Man is a reactionary horror that perceives a monster (that is, Adrien abyuzer) not as a victim of society or new trends, such as Griffin from the original work. That victim of science and progress, a man who has lost all sorts of moral guidelines. Cecilia’s boyfriend is not like that: he is by default an evil genius who wants to control not only the work process, but also close people. And his creative side (he is also an inventor) in the context of the characterization of the hero is used only as a tool for domination. Perhaps it is precisely because of these simplified characters that Wonnel is not able to go directly into the mechanisms of oppression. In a situation where everything is crystal clear, like "2x2", there can be no question of a complex, multi-level conflict. For Blumhouse, such a move is generally normal: to bring the issue up above the plot, to emphasize social significance, to focus on issues that horror films touched dozens of years ago, but those were hidden behind the plot itself.

The disadvantage of the film is rather that it does not encourage discussion or revision of the issue. He simply represents. Yes, it actualizes the problems, frames them in the form of an alarming hermetic horror and allows you to penetrate the consciousness of the victim of violence, but does not go further. Although it was in the finale that Wannell spoke not only so much about the origins of the toxic relationship and how to break out of them, but about the direct punishment. How to determine the guilt, if you can rely only on the memories of one person? Is lynching possible and, more importantly, slander is possible with respect to the alleged abuser, harraser and further down the list? From the last shots, one might get the impression that Winnell encourages sanctions and seems to cancel all presumption of innocence. In fact, in a mute scene with the ominous face of Moss, he rather passes the baton to those who can develop and complicate the issue.