The Invisible Man (2020)

Chang finds the film an intimate, expertly crafted and unsettling horror thriller that resonates with contemporary fears about abuse and disbelief. He especially praises Elisabeth Moss’s performance, whose quiet expressions of terror make Cecilia’s experience feel immediate.

Gleiberman calls the film an ingenious, entertaining thriller with emotional force. He particularly praises Elisabeth Moss’s portrayal of a woman whose abuse goes unseen and disbelieved.

Hassenger finds the film striking and tense, though not especially rich. He praises Elisabeth Moss’s performance for combining vulnerability with resourcefulness and making Cecilia’s perspective compelling.

The review finds the film tense, thematically rich and a bold, fresh reinvention, though it becomes more conventional as it progresses. It praises Elisabeth Moss’s performance and Whannell’s restrained use of camera movements to build dread.

O'Sullivan finds the film a timely, effective monster movie, though its plot holes and cheesy ending weaken it. She especially praises the clever camera-work and Elisabeth Moss's performance.

Strong finds the film an inventive, satisfying horror that updates its source material effectively, though its plot develops cracks on reflection. She praises Elisabeth Moss’s performance and the film’s technical craft, especially its use of empty space and sound to create tension.

The headline presents the film as something that has to be seen to be believed. The description praises it as a confident retelling, though the article body is unavailable.

The critic presents the film as a timely reimagining of H.G. Wells’s story. They single out Elisabeth Moss’s battle against toxic masculinity as its central strength.

Harley finds the film a taut, effective suspense exercise that gives Universal’s monster films fresh life, despite some second-half missteps. He especially praises Elisabeth Moss’s intense performance and the film’s carefully controlled scares.

Hans finds the update gripping and smart, praising its shift of perspective toward Cecilia and the way it foregrounds women’s concerns. She singles out Elisabeth Moss’s convincing performance and Whannell’s Hitchcockian styling.

The review is positive about this outlandish horror film. It singles out Elisabeth Moss’s performance for grounding the story.

McCarthy finds it an effective, promising revival of Universal’s monster films, though the conceit stretches somewhat near the end. He especially praises Elisabeth Moss’s resourceful lead performance and Whannell’s careful tension-building.

Willmore finds the film’s concept stronger than its execution, but considers it worthwhile overall. She singles out Elisabeth Moss’s deeply committed performance for holding the film together.

The excerpt identifies this as a review but does not reveal the critic’s verdict. It singles out the update’s liberation of the monster from the old Universal antihero’s moral ambivalence.

The page could not be accessed, so the critic’s verdict is unavailable. Its praise or complaints cannot be verified from the material provided.

Dry finds the film a muddled, limp thriller that fails to deliver effective horror. She singles out the early kitchen scene’s subtle visual tension as its most interesting cinematic choice.

Gonzalez argues that the film’s style and suspense come at the expense of meaningfully engaging with abuse. He praises Elisabeth Moss’s performance and the tense craftsmanship, while faulting the film for reducing Cecilia’s trauma to a plot device.

Brody finds the film’s clever twists and thrills pleasurable but undermined by thin characterization and textureless direction. He praises Elisabeth Moss’s resonant performance while faulting the film for leaving its promising ideas undeveloped.

Goldberg finds the film nerve-racking, haunting, and thoughtful rather than a fun horror movie. He especially praises Elisabeth Moss’s performance and Whannell’s use of invisibility to convey the terror of domestic abuse.

The critic calls the film an expertly told, terrifying reboot that turns an abusive relationship into effective horror. They especially praise Elisabeth Moss’s bravura performance and the unnerving camerawork that makes the invisible threat felt.

The critic finds the film a timely, intensely effective horror update. They praise Elisabeth Moss’s fierce performance and the suspense built through patient scenes, sound design, and score.

Sinacola finds the film bleak, tense, and highly effective as a horror story. He praises its carefully composed frames and Elisabeth Moss’s balanced, powerful performance.

The critic finds the film a bracing, frightening horror story whose flaws are worth overlooking. She especially praises Elisabeth Moss’s towering performance and the tense camerawork that keeps viewers scanning the frame.

Fletcher calls the film a fresh, scary, and effective success. She praises Elisabeth Moss’s believable performance and the film’s ability to deliver startling shock scares.

Wilkinson finds the film an enjoyably tense and effective modern adaptation. She praises the crafty camerawork, which makes empty spaces feel threatening, and Elisabeth Moss’s portrayal of Cecilia’s fear and resilience.

The critic finds the film a bold, thrilling addition to horror, though not as evocative as Jordan Peele’s work. They praise its patient focus on Cecilia and its unsettling use of silence and empty space.

Sandwell finds the film a tense, chilling reinvention that delivers effective horror, despite an overlong and convoluted final third. He especially praises Elisabeth Moss’s committed performance and Whannell’s suspenseful use of ordinary spaces to create fear.

The critic finds the film an entertaining, suspenseful thriller that loses much of its scare factor once the monster is revealed. They praise Elisabeth Moss’s performance and the film’s absorbing premise, while faulting its later scares and disappointing climax.

The critic finds the film’s scares effective but says its plotting and treatment of domestic abuse undermine the story. She especially praises the tense scenes built around apparently empty rooms.