When Cecilia's abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see.
The film follows Cecilia, who receives the news of her abusive ex-boyfriend's suicide. She begins to re-build her life for the better. However, her sense of reality is put into question when she begins to suspect her deceased lover is not actually dead.Written by
Max
Often Elisabeth Moss was just emoting to an empty room with no-one to bounce off, though for certain scenes she insisted that co-star Jackson-Cohen be present to help lend authenticity to the performance. "Leigh and I were trying to be specific about when it could be the stunt double, when it could be Olly, when it should be nothing," Moss explained. "And we tried to really make sure there was specificity there. And there were times when if the Invisible Man had to speak in the scene, I would prefer to have Olly there. And then there were times when there was nobody there at all and it was just a blank space." "I'm there more than you would think," Jackson-Cohen, who only physically appears briefly in the movie, said. "We're trying to be quite selective about where we say parts of it are me or not, because we kind of want to keep an audience guessing as to how we did it. But it was definitely not I didn't shoot for like four days on the movie. I was there for two months. So it was a fair amount. Lizzie and I spent some time discussing what parts of the script she really needed me to be there, and we felt would help performance-wise. So, yeah. Slip me into a green suit and I'm a go." However, Moss admitted Jackson-Cohen didn't need to be on set quite as often as he was. "The non-serious answer is then I just started asking Olly to come to set to entertain me, and to amuse me," she laughed. "I just thought it was funny to look at. There's nothing like a tall man in a tight green-screen suit." See more »
Goofs
The van used by Cecilia to chase Tom should be damaged because of the crash but it was not. See more »
Quotes
Cecilia Kass:
[Emily comes to visit Cecilia at James's house]
This is not fair. I asked you not to come over. He knows where you live. He will follow you.
Emily Kass:
Yes, well, I have some news.
Cecilia Kass:
There is no news that justifies this. Okay I have a plan. And I just, I need you to go along with it, and just not being in control for one second.
Emily Kass:
I'm not trying to control you, boo. I'm desperately trying to tell you that you don't need to cut me off anymore. Because he's dead.
Cecilia Kass:
What?
[...] See more »
Crazy Credits
The Universal Pictures logo appears in silence. See more »
Alternate Versions
The UK version was cut to secure a 15 certificate, by removing 3s of bloody injury detail in a scene of self-harm. See more »
Kids
Performed by Rich Brian
Courtesy of 88rising
Written by Rappy (as Sergiu Gherman), Tyler Mehlenbacher, Daniel Tannenbaum, Rich Brian (as Brian Soewarno), Frank Dukes (as Adam Feeney), Sean Miyashiro, Craig Balmoris
(c) Published by 88Rising Publishing, LLC
(c) Published by one77 Music LLC
Administered by Kobalt Music Publishing Australia Pty Ltd
Universal Music Corp., Song of Universal Inc.
Administered by: Universal Music Publishing Pty Ltd
(c) Quiet as Kept Music Inc. Licensed by EMI Music Publishing Australia Pty Limited See more »
Leigh Whannell is not a subtle filmmaker - at least, that's what I used to think. The Saw and Insidious movies are over-the-top and shocking, which is fine, and I enjoyed Upgrade quite a bit, but I was afraid the Invisible Man would fall into the same trap of shock-value over substance. Thankfully, I was wrong.
From the opening scene, the movie sucks you in with tension and unease. Cecilia (Elizabeth Moss) is trying to escape from her abusive boyfriend while he is asleep, and with practically no dialogue or exposition, we immediately understand the situation and feel for Moss' character. She's trapped in an abusive relationship and fears for her life. It's a testament to Whannell's deliberate direction, using visual cues to give us the information we need while slowly ratcheting up the suspense. The movie is not reliant on jump scares. There are a few, but they're 100% earned and actually effective because we care about the characters. The excellent score helps add to the atmosphere, alternating between pulsating ambience and melancholy orchestral bits.
From the concise writing, likable characters, clever directing, a powerhouse lead performance, and a genuinely scary villain, The Invisible Man gets just about everything right. I suppose you could nitpick some of the logic, but that's missing the point. It's a film about gaining freedom from a toxic relationship, and Whannell knows exactly how to pace the story so that we don't spend too much time dwelling on potential plot holes. Overall, a gripping and expertly crafted psychological thriller.
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Leigh Whannell is not a subtle filmmaker - at least, that's what I used to think. The Saw and Insidious movies are over-the-top and shocking, which is fine, and I enjoyed Upgrade quite a bit, but I was afraid the Invisible Man would fall into the same trap of shock-value over substance. Thankfully, I was wrong.
From the opening scene, the movie sucks you in with tension and unease. Cecilia (Elizabeth Moss) is trying to escape from her abusive boyfriend while he is asleep, and with practically no dialogue or exposition, we immediately understand the situation and feel for Moss' character. She's trapped in an abusive relationship and fears for her life. It's a testament to Whannell's deliberate direction, using visual cues to give us the information we need while slowly ratcheting up the suspense. The movie is not reliant on jump scares. There are a few, but they're 100% earned and actually effective because we care about the characters. The excellent score helps add to the atmosphere, alternating between pulsating ambience and melancholy orchestral bits.
From the concise writing, likable characters, clever directing, a powerhouse lead performance, and a genuinely scary villain, The Invisible Man gets just about everything right. I suppose you could nitpick some of the logic, but that's missing the point. It's a film about gaining freedom from a toxic relationship, and Whannell knows exactly how to pace the story so that we don't spend too much time dwelling on potential plot holes. Overall, a gripping and expertly crafted psychological thriller.