The abusive male himself might be unseen, but the fear he spreads is in plain sight in “The Invisible Man,”利·旺内尔’s sophisticated sci-fi-horror that dares to turn a woman’s often silenced trauma from a toxic relationship into something unbearably tangible.Charged by a constant psychological dread that surpasses the ache of any visible bruise, Whannell’s ingenious genre entry amplifies the pain of its central character Cecilia Kass (伊丽莎白·莫斯) at every turn, making sure that her visceral scars sting like our own.Sometimes, to an excruciating degree.
It's not an easy feat to accomplish.Partly because Whannell’s playground has its boundaries set within a pre-existing property that ought to be handled with care—詹姆斯·惠尔’s circa 1933 pre-code classic, adapted from H.G.韦尔斯’ 1897 novel—that is, if we learned anything from various lackluster studio remakes of recent years.But mostly because we are in the era of #MeToo, with the once-protected monsters of the real world finally being exposed for what they are, their terrorizing powers examined in stupendous films like基蒂·格林’s “助理”—a long-delayed revolution that shouldn’t be cheapened or misused.Thankfully, the Australian writer/director behind the wildly successful “锯” and “阴险” franchises, comes equipped with both sufficient visual panache—“The Invisible Man” recalls大卫·芬奇’s Bay Area-set masterwork “黄道带” and the mazy quality of詹姆斯·卡梅隆’s spine-tingling “终结者2：审判日” when you least expect it—and fresh ideas to fashion the classic Universal Movie Monster with timeless and timely anxieties.And he does so in startlingly well-considered ways, updating something familiar with an inventive take.
It wouldn’t be a stretch to suggest that part of what Green prioritized with her masterpiece is also what lends “The Invisible Man” (and eventually, its visible woman robbed out of options) its cumulative strength—an unforgiving emphasis on the loneliness emotional violence births in the mistreated.There is a constant in all the sharply edited, terrifying set pieces lensed by斯特凡·达斯西奥with elegant, clever camera moves in bedrooms, attics, restaurants and secluded mansions: a vigilant focus on Cecilia’s isolation.That isolation, intensified by本杰明·沃费希’s fiendish score, happens to be her concealed assailant’s sharpest knife.A deadly weapon others refuse to see and acknowledge.
One relief is, Whannell doesn’t ever leave us in a state of bewilderment in front of his mean, handsomely-styled and absorbing thriller.We believe Cecilia through and through, when others, perhaps understandably, refuse to do so, questioning her sanity instead.(Sure, “the crazy woman no one will listen to” is a long-exploited cliché, but rest assured, in Whannell’s hands, this by-design bug eventually leads to a deeply earned conclusion.) And yes, at least我们as the audience are by her side, all the way from the film’s taut opening when Cecilia wakes up with a long-harbored purpose next to her sleeping enemy, but not showing traces of朱莉娅·罗伯茨’ fragility.Instead, we detect something both mighty and vulnerable in her, closer to Sarah Connor of "The Terminator" in spirit, when she forcefully runs through the woods to escape her cruel partner Adrian (奥利弗·杰克逊 - 科恩), gets picked up by her sister Alice (哈里特代尔) after some heart-stopping setbacks and takes refuge with her childhood best friend James (阿尔迪斯·霍奇)—a resourceful cop living with his teenaged daughter Sydney (风暴里德), who dreams of going to a design school they can’t afford.
The initially agoraphobic Cecilia finally claims her freedom back, at least briefly, when the moneyed scientist Adrian commits suicide, leaving Cecilia a healthy sum that would finance both her future and Sydney’s choice of college.Of course, if something is too good to be true, it probably is, no matter what Adrian’s brother Tom (a brilliantly sinister迈克尔·多尔曼) claims, handling his late sibling’s estate and inheritance.在这方面，塞西莉亚很快把拼图拼在一起，发现，阿德里安发明了隐形的装甲（亲爱的读者，这好看的一块科学神器是前提，而不是一个扰流板），他将使用的 complex scheme of gaslighting as a sadistic form of revenge—a reality she can’t prove to anyone.会有浮动刀，拉被子，和怪异的脚印。你可能让出一个或两个尖叫。
精神失常屏幕的认证当代女王女主角，只考虑“她闻“，‘使女的故事’，“我们”和即将上映的‘雪莉’与她的签名神韵这些令人毛骨悚然的场景集体莫斯过人之处。As Cecilia who resourcefully fights an undetectable authority that ruins her life and controls her psychological wellbeing, Moss continues to deliver what we crave from woman characters: the kind of messy yet sturdy intricacy many of today’s thinly conceived you-go-girl female superheroes continue to lack.Whannell的剧本和方向慷慨地允许莫斯的空间伸展那些复杂的，变化的肌肉，同时随便在授权最终女孩使了个眼色为21世纪的这一边。
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