One of the first films I’ve seen this year that was actually released this year. I think. Well, put it this way. One of the newest films I’ve seen this year after the theaters closed due to the pandemic. God I miss the movies.
Anyway. Let’s chat, shall we?
Unlike the H. G. Wells novel that inspired it, the antagonist here is a charismatic and insanely wealthy gentleman, whose fortune and status owed to his brilliance in the field of ‘Optics’, which is to say, vision and sight-related technology, like cameras and image processing and light manipulation. The protagonist is his battered, controlled, and (at first) entirely victimized girlfriend. Of course, she realizes how bad her situation is and makes a daring escape from their compound-like home (which apparently doubles as his optics lab, I guess.. when you have enough money, you just merge your work and living space into one bougie-hipster-fest of a mansion?).
She holes-up with a good friend of hers, sees her sister, and starts trying to live a normal-ish life. Douche-optic-sci-guy dies and leaves her a ton of money. His brother, a sniveling lawyer with a little too-convenient story of their own strange relationship, serves up the will. She celebrates with some well-placed generosity and seems to be doing well.
Great, I’m with it so far.
The Plot Thickens
But. Always a but. She starts sensing a presence. An unseen entity pulls off her bed-covers while she sleeps, and a pair of foot imprints, seemingly standing on the edge of the blanket as she pulls it back, jump-start the insanity.
So this is not what I’d call “pure horror”, but it’s more of a horror-thriller hybrid. And it’s very well-done. The characters are developed, the story moves at a good pace, and the building sense of fear and psychosis is demonstrated with the right amount of visuals, musical cues, and dialog. Some of the best bits are when Cecelia simply converses with the empty space in front of her, knowing it’s not truly empty, but unable to find even the slightest crack in the facade to prove otherwise.
We could draw some comparisons to Hollow Man here (first R-rated movie I ever watched, no joke!), with similar pacing and action. Although in terms of the targets of affection, I think Kevin Bacon got the better deal by far — Elizabeth Shue AND Rhona Mitra? Yes plz. (I might have mentioned her before.) That’s not fair of me, though — Elizabeth Moss is fine too, but her character here is supposed to look like she’s been through hell, because she has!
Look Ma, No Hands!
As we build toward the climax, a couple things go wrong. First, the injuries that C. inflicts on herself should have been much more life-threatening. Second, once we learn how the invisibility suit actually works, it stands to reason that it being shot with multiple bullets would cause some serious malfunctioning, not this half-baked “self-healing” technology that seems to keep our killer both lead-proof AND eye-proof without a flinch. But hey, maybe I’m behind the times.
Despite me “calling it” before the last “mini-twist” was revealed (I’m trying to emulate K. here, but her gift for foreseeing story elements, plot-twists, and endings was absolutely astounding), I still enjoyed the fact that they went there. It helped bump C. over that last little ledge of neurosis, while giving her the motivation she needed to start actually fighting back.
That Ending, Tho…
But really. For all we’ve learned about Adrian, can we really believe for a second that he wouldn’t suspect her of being wired while they converse awkwardly over a reunion dinner? Or that he’d just LET her wander off alone to “freshen up”? Come on.
I did administer a few self-fives for predicting dialog just before it was said, so that was entertaining.