The Invisible Man (2020).

Review #1359: The Invisible Man.

Cast: 
Elisabeth Moss (Cecilia "Cee" Kass), Oliver Jackson-Cohen (Adrian Griffin), Aldis Hodge (James Lanier), Storm Reid (Sydney Lanier), Harriet Dyer (Emily Kass), Michael Dorman (Tom Griffin), Benedict Hardie (Marc), and Amali Golden (Annie) Directed and Written by Leigh Whannell (#1093 - Upgrade)

Review: 
I don't know how to go with this one. On the one hand, it is admirable to see Universal Pictures try something different from their original intent in reviving The Invisible Man for a new audience, where the film (with thoughts of Johnny Depp in the main role) was set to be part of their star-crossed attempt at a cinematic monster universe, fittingly dubbed "Dark Universe", which essentially nosedived into oblivion with the release of The Mummy (2017), a film that coincidentally I forget to even think of ignoring. Instead, the focus is now to do individual story-telling (i.e. literally just doing a horror film a fresh take like the first time), with Blumhouse Productions being the prominent production company behind this film (with Universal as distributor). Like the 1933 film, it is a loose (insert adaptation joke here) adaptation of the H. G. Wells novel of the same name, set in contemporary times just as before. This of course isn't the first film inspired by the novel in this century, with Hollow Man (2000) existing as a sci-fi horror thriller with Kevin Bacon in the main role. This is a movie that re-directs the focus from its main horror figure, which I suppose does help in trying to deliver a fresh perspective on something that has inspired at least ten theatrical films (some involving horror and other mainly involving sci-fi). There certainly is a decent selection of casting, where no one really seems to stick out in error, mainly since Moss dominates the attention for its benefit. The film also does work itself out well for its effects with the titular character when it feels like doing so, since the idea of a monster you can't see is still a scary concept if done right.

On the other hand, the film is a mild disappointment in the long run. It is occasionally scary, but it is a ride that seems a bit too long at a 124 minute pace, particularly with an ending that seems too neatly-packaged up to really have that last punch. I suppose my horror tastes might differ a bit from the buzz that encompassed this film upon release, since it is probably the first horror film of the year that didn't seem doomed to fail. Maybe people really do find this incredibly relevant to the modern age with its mix of invisibility and gaslighting. While I do having sticking points with the occasional horror films (whether liked or disliked), it can be waved away if the overall experience seems right to do so (i.e. not simply saying "it's just a movie" over and over). Without seeming like a complete spoil-sport, the key sticking point is in a scene that actually is fairly tense. It's a scene in a house, where the main character is (conveniently) alone and is fearful of what the invisible stalker could do next to her. She goes to the attic after calling and hearing her ex's phone up there. After finding it...she just leaves it there. Even just having him just take the phone back would have sufficed as an easy out. Look, I don't go to movies to pick at things like supposed "plot-holes", but thinking things all the way through does help in the long run for films, especially horror. In comparison, the original moved at a rapid pace with Claude Rains doing a well-done job at conveying a creepy (and sometimes amusing) presence into interesting horror entertainment, and that film was nearly an hour shorter than this one. In that regard, Jackson-Cohen does fine taking the reins in a role that requires occasional dialogue to make for some decent tension. Moss, as I mentioned before, is our main focus for the movie. She does a capable job, a presence that is easy to follow along with from her perspective, resilience in panic. Hodge, Reid, and Dyer round out the main core quite completely in filling the straight-edge counterpart to the horror trappings without being lost in the background. Dorman makes for a slimy minor presence, desperately needing more time to be on-screen to really stand out. In any case, the film does tend to look nice, pointing its camera to make you look to see if you can detect another presence besides what you see initially. Sometimes the film has a sense of humor, which delivers a chuckle that at least isn't meant to distract. As a whole, this is an okay movie. It isn't as put together as Whannell's previous effort with Upgrade, but it does ultimately provide adequate enough scares to likely win over a shaky yet mostly there foundation. Would I be interested in whatever Blumhouse could do next with a classic monster? Perhaps, if the story seems right enough to give horror thrills.

Overall, I give it 7 out of 10 stars.

Us (2019).

Review #1203: Us.

Cast: 
Lupita Nyong'o (Adelaide Wilson / Red), Winston Duke (Gabriel "Gabe" Wilson / Abraham), Shahadi Wright Joseph (Zora Wilson / Umbrae), Evan Alex (Jason Wilson / Pluto), Elisabeth Moss (Kitty Tyler / Dahlia), Tim Heidecker (Josh Tyler / Tex), Yahya Abdul-Mateen II (Russel Thomas / Weyland), Anna Diop (Rayne Thomas / Eartha), and Cali and Noelle Sheldon (Becca and Lindsey Tyler / Io and Nix) Directed by Jordan Peele (#909 - Get Out)

Review: 
When Jordan Peele made his directorial debut with Get Out two years ago, I certainly did not know what I was expecting exactly, but I figured that it would prove just fine in delivering some kind of horror. It certainly proved to be a success - how many other horror films win (much less get nominated for) an Academy Award for Best Original Screenplay? Undeniably, his next venture into horror can prove enticing, with him once again serving as director, writer, and producer, with an increased budget and some inspiration from The Twilight Zone (more specifically, "Mirror Image") this time around. The idea of being stalked by someone that looks like you certainly can prove creepy, particularly if you and your whole family meet them up close. In the long run, the film presents an assortment of interesting concepts encompassed in a horror film that works itself out just fine. Perhaps it doesn't hold up as much as it really should with its plot, but it is at least handy to deliver some scares and a few laughs without being distracted too much with tonal disconnect. It will please people wanting something that don't want too much blood but are fine with some creepy imagery and atmosphere, that much is certain. The film takes its time to get the ball rolling in suspense, but you never feel too particularly bored with the main group during its 116 minute run-time. It is the chemistry that the main four have with each other - whether dealing with family stuff or suspenseful moments that make the film work as well as it does, with no weak point in the cast as a whole. Nyong'o proves up to the task of dual roles when needed, showing resolve in the face of danger while dealing with past demons and conversely showing anguish and terror - albeit with aid through a pained croak that takes some time to get used to. Duke shines finely enough, with Joseph and Alex proving effective for the course in playing off the main menace with resilience (and vice versa in a sense for the doubles). Moss and Heidecker provide a bit of levity for their moments on screen. Describing the film and its plot in much detail would spoil the fun (at least for me, anyway) in actually experiencing its frights and tricks without real warnings - although I can at least say it isn't the kind of film that trips over its own hype and story (for the most part). The climax is fairly clever in its own machinations (with some help from Michael Abels and his music), but I feel that its method of exposition dump (or whatever you describe it as) does tend to be a bit silly. It isn't so much that I don't care for things in a film to be explained or not (as is the case sometimes with horror films or their sequels, anyway) - it just seems a bit forced in view of its placement within the film and it messes with its illusions in some way; it certainly will provoke a bit of thinking with what it says about what it means to be oneself, which is fine by me. Regardless of how one may feel with how the film deals with its motivations, the movie itself is an interesting and well-made horror film, having a solid cast and capable guiding hands from Peele. He certainly knows how to make his film stand out on their own as interesting pieces to get thrills from through the tropes of horror without so far succumbing to being bogged down in overextending himself too much. I imagine whatever his next venture into horror (or whatever it might be) will certainly provide curiosity to follow into its web of interest.

Overall, I give it 8 out of 10 stars.