Review: 'The Invisible Man', Elisabeth Moss Takes On An Unseen Predator In Universal's Taut, Timely Horror Remake

If only Universal's failed Dark Universe plan had begun with Leigh Whannell's terrifically nervy and audacious The Invisible Man. A loose reimagining of H.G. Wells' classic book, the film could've given the studio's dud of a cinematic universe the spark it needed to thrive, driven by pinpoint direction and a modern spin that evokes "Me Too", privacy concerns, and gaslighting.  Whannell's third solo directing gig after Insidious 3 and the wildly underrated Upgrade (a superior version of Venom), this edgy psychological horror frays the senses as intensely as anything experienced in A Quiet Place.

That tension begins to churn at our gut during a killer slow burn of an escape sequence, as Cecilia Kass (Elisabeth Moss, unhinged and lovin' it) slowly creeps out of the gigantic, isolated home of her abusive boyfriend, Adrian Griffin (Oliver Jackson-Cohen), a tech mogul with a very specific specialty. The next few minutes are a masterclass in the use of sound and darkness to create fear, every step Cecilia takes is nearly silent, but made to feel heavy as a drumbeat. By the time she scales the walls and races out into a lonely, dark street to await the arrival of her confused sister Alice (Harriet Dyer), our skin is crawling.

What emerges is that Cecilia has been living under the violent specter of Adrian for so long, and yet nobody seems to have realized it. Alice had no idea, and the same goes for her cop friend James (Aldis Hodge) or his college-bound daughter Sydney (Storm Reid). Adrian has controlled every aspect of her life, which explains why the promising architect has done nothing with her career, and why she's afraid to leave James' home even to check the mailbox. Even when Cecilia, or "C" as her friends annoyingly call her, begins to think herself safe following news Adrian has killed himself, she doesn't seem to fully trust it.

Of course, Cecilia's instincts prove to be spot-on, and before long she's the victim of unseen attacks. Actually, that's overstating it. She becomes the victim of an annoying, manipulative pest who starts out by silently moving things around the kitchen, causing her to burn breakfast, then quickly builds up to isolating Cecilia from her friends and family. The way this is done is so surgical, so cruel, we can see the patterns in the way real-life abusive men drive their victims away from the people they rely on for support. The more Cecilia screams that Adrian is alive, the more broken from reality everyone thinks her to be, because who could possibly believe such a story? What is he? A ghost? Somehow he faked his death? The gaslighting going on here is truly epic stuff, and far more terrifying than the invisible stalker's footprints or their hot breath emerging out of nowhere on a cold night. Whannell, who has been freaking folks out since he and James Wan launched the Saw franchise, knows there are limits and keeps Cecilia's confrontations with her unseen foe to a minimum. He flips the tables (literally, at one point) at just the right moment so things don't get repetitive, and we stay on board with Cecilia's attempts to prove she isn't crazy.

One of the few drawbacks is so much of the movie's second half was given away in trailers. Not all of it, mind you, there are a few red herrings and bloody plot twists (one death scene is a real jaw-dropper) that throw a monkeywrench into our expectations. But nearly everything directly involving Cecilia is out there, and that's a shame. Eventually, The Invisible Man lives up to its title and the big question becomes "how" as much as "who", and the reveal is pretty weak even if it makes some logical sense. When you're talking about classic movie monsters, satisfying is probably a better way to go than logical, and this just comes across as an easy answer to a pesky plot point that might've been left unanswered.

We can probably leave it unsaid that Moss is great, once again, at playing a woman on the edge. Her performance carries Cecilia through maddeningly unstable to in a desperate fight, not just for survival but to prove her own sanity. While definitely a "showy" role, what Moss delivers actually mirrors Whannell's approach to the film, which is to keep its themes and Cecilia's backstory of abuse as understated as possible. Trusting the audience to engage with these aspects is one of the most visible reasons why The Invisible Man is a big win for Universal and Blumhouse as they redefine what it means to be "monster" in today's world.

3.5 out of 5

Read More

Universal May Be The New Home For Future 'Lego' Movies

After wowing us with The Lego Movie, Warner Bros. had an unexpected hit franchise on their hands. They followed it up with The Lego Batman Movie, which also did well, both movies capitalizing on WB's extensive pop culture footprint. But after two disappointing efforts in Ninjago and The Lego Movie 2: The Second Part, it's looking as if Lego will be moving on to a new home.

THR reports Universal Pictures is in negotiations to become the new home for future Lego movies. Lego's deal with WB expired this fall, and it doesn't seem like it's going to be renewed. That would presumably put the kibosh on expected sequels for The Lego Movie and Lego Batman, but with Universal there's the potential for some intriguing projects.

Universal's two biggest franchises right now are Jurassic World and the Fast & Furious series, so might we get Lego versions of those? The template for Lego Jurassic World is already out there in video game form, but who wouldn't want to play as a little Lego Dom Toretto? Sounds pretty cool to me. It's more likely Universal will look to create something new, but there's no doubt integrating with popular brands is what Lego does best.

Read More

M. Night Shyamalan And Universal Team Up For Two New Untitled Thrillers

It took a few years, but M. Night Shyamalan got the last laugh on everyone who wrote him off. After seeing his once red-hot career fall into the dumps because of a few high-profile flops, Shyamalan reeled off three straight hit movies with The Visit, Split, and Glass all at Universal. That kind of success is something that neither side wants to see end, and so the partnership is being extended a few more years.

Universal and Shyamalan will team up on two more thrillers, to arrive on February 26th 2021 and February 17th 2023, respectively.  There's no information on what the movies will actually be, but expect Shyamalan to provide plenty of twists and curves in an original setting...

“There are wonderful studios out there, but Universal has made it a mandate to release original films,” said Shyamalan. “They are the best at finding an audience for new stories with unexpected tones. I believe original films are crucial to the longevity of the theatrical experience. I am so excited to be working with them again and bringing new stories to the movie screen for years to come.”

That would seem to suggest these new films won't have anything to do with his Unbreakable-verse, which seemingly wrapped up with Glass.  This change in Shyamalan's fortunes was driven by an embrace of lower-budgeted movies and less high-concept material. If it ain't broke, dont' fix it, right?

Next up for Shyamalan is the Apple TV+ psychological thriller series Servant, which he'll exec-produce and direct a couple of episodes for. 

Read More

'The Hunt' Director Speaks Out On The Controversial Film's Cancelation

For a movie that has been canceled and may never come out, everybody has something to say about The Hunt. Well, it's time to hear from somebody who actually has something to do with the controversial film. Director Craig Zobel has broken his silence to Variety about his movie, which follows a group of strangers, supposedly conservatives referred to as "deplorables", who are hunted by rich liberals for sport. And unsurprisingly, Zobel's aims weren't to divide people or foment violence as some may have you think....

“If I believed this film could incite violence, I wouldn’t have made it, ", Zobel said. He continued,  “Our ambition was to poke at both sides of the aisle equally. We seek to entertain and unify, not enrage and divide. It is up to the viewers to decide what their takeaway will be.”

Universal made the decision to cancel The Hunt following the domestic terror attack in El Paso and mass shooting in Dayton, which Trump and others in the right-wing attributed to Hollywood values. When word about The Hunt's premise got out, that only took their outrage to another level. Ironically, the finger-pointing that it caused on both sides of the political divide is exactly an issue Zobel wanted to address with the movie...

“I wanted to make a fun, action thriller that satirized this moment in our culture — where we jump to assume we know someone’s beliefs because of which ‘team’ we think they’re on… and then start shouting at them. This rush to judgment is one of the most relevant problems of our time."

“I was devastated by going to sleep to El Paso and waking up to Dayton. These types of moments happen far too often. In the wake of these horrific events, we immediately considered what it meant for the timing of our film. Once inaccurate assumptions about the content and intent of the movie began to take hold, I supported the decision to move the film off its release date.”

That might've been a decision those eagerly awaiting the film could support. We all understand how real-world issues can impact a movie's release, it's just the way things go. But the perception is that Universal caved under pressure that has them scrambling to defend themselves and refute some of the rumors out there.

For instance, Universal is now saying the movie's inflammatory working title, Red State vs. Blue State, "was never the working title for the film at any point throughout the development process, nor appeared on any status reports under that name", and there were never plans to cancel it for this reason. Universal also shoots down claims of poor audience test screenings in which audiences were uncomfortable with the movie's politics. 

At this point, who knows what the future holds for The Hunt. I highly doubt Universal will give it any kind of release, especially with the charged political climate only getting worse. But I continue to hope they shop it around to other distributors who may want to capitalize on this moment when the film is so hot and people will pay to see it. Remember, this is a Blumhouse film and it will only take so much for it to earn a profit. 

Read More

Death Threats Reportedly Factored Into Universal's Decision To Cancel 'The Hunt'

When The Hunt is finally released, whether it be into theaters or digital, it may be that the events surrounding it are more interesting than the movie. A new factor into Universal's decision to cancel the controversial thriller, which they want us to believe was always their plan, is the dangerous climate surrounding it once word got out over the premise.

New details from THR point to early test screenings of The Hunt, which was originally titled Red State vs. Blue State, and the uncomfortable reaction from audiences that gave Universal its first whiff of  concern. The decision was made to tone down the political references in the marketing strategy, especially following two mass shootings in which one of the killers expressed anti-immigrant sentiments.

However, the studio began receiving death threats once it became known what the movie was about, which is a group of strangers, described as "deplorables", hunted down by rich, elite liberals for sport. The authorities never got involved in the situation, but right-wing mouthpieces sure did, as did Donald Trump with around-the-clock commentary on TV news and social media. Universal then made the decision to scrap the release altogether, although top execs were reluctant to do so and be seen as caving in to pressure. It was the mass shootings that changed their minds.

Apparently, other studios had seen the project as a potential hot zone and refused to pick it up. Even some within Universal had reservations. However, there are reportedly many international outlets eager to acquire and release the movie, so that may be a route Universal and Blumhouse go in.

Read More

Universal Wants Us To Believe They Were Always Planning To Cancel 'The Hunt'

It never really mattered when The Hunt would've been released, its premise was always going to cause a stir. The film, which boasts the talents of co-writer Damon Lindelof, director Craig Zobel, and stars Emma Roberts, Betty Gilpin, Hilary Swank, and more, centered on a group of strangers, regular people, who are hunted for sport by rich elites. That they appear to be conservatives, or "deplorables", targeted by liberals guaranteed an uproar, and Universal pulled marketing in the wake of the mass shootings in El Paso and Dayton. The studio's decision to cancel the film caused a backlash since it came after fiery rhetoric from GOP talking heads and Trump himself.  

However, sources speaking with IndieWire claim that Universal had made the decision to cancel The Hunt before Trump started stirring the pot. *cough*bullshit*cough*

Following the shootings, Universal felt it wasn't the right time to be promoting a film where shooting large amounts of people was central to the plot and a key part of marketing. They were on the verge of shelving it for the time being, but before the decision could be made, Trump and his followers started politizing the issue, singling out The Hunt as proof of Hollywood's bias towards conservatives and responsibility for gun violence.  All appearances to the contrary, Universal wasn't bowing down to political pressure. They were just trying to do the right thing.

Yeah, okay. If it isn't obvious, I don't believe this for a second. Universal is setting an ugly precedent here. If studios start canceling movies because of a bunch of angry Internet trolls, and let's be real, the President is the ultimate Internet troll, then what's to stop them from faking outrage at every movie they don't like? Universal doesn't want the reputation of being weak, so they leak this story to try and change the narrative.

If Universal was really trying to do what's right, they would let Blumhouse take the movie elsewhere or release it digitally. Because Blumhouse keeps their budgets tight, they might actually be able to break even or make some money through a home release. I would definitely pay for it and probably many others would, too, as a show of support and a blow against this attempted silence. 

Read More

'The Hunt' Release Canceled By Universal In Response Recent Mass Shootings

One of the most anticipated movies of the fall, Universal and Blumhouse's thriller The Hunt, has been canceled in the wake of mass shootings in El Paso and Dayton. Universal issued a statement confirming the news...

“While Universal Pictures had already paused the marketing campaign for The Hunt, after thoughtful consideration, the studio has decided to cancel our plans to release the film. We stand by our filmmakers and will continue to distribute films in partnership with bold and visionary creators, like those associated with this satirical social thriller, but we understand that now is not the right time to release this film.”

This is hardly a shock. The Hunt, which was directed by Craig Zobel, co-written by Damon Lindelof,  and stars Betty Gilpin, Emma Roberts, Hilary Swank, and more, was to be released on September 27th.  It follows a group of twelve strangers who awaken to find themselves prey in a lethal game devised by rich elites. A trailer for the film was recently released and shows a dark but sardonic sense of humor.

However, in recent days we've seen Trump and others in the Republican Party quickly form a narrative blaming video games, Hollywood, whatever they need in order to deflect attention away from guns. Some retail outlets such as Wal-Mart went so far as to pull any violent imagery from their shelves, even as sales on guns continued.  There's even a claim, completely unfounded by anything we've seen, that The Hunt is specifically targeting Trump supporters. So at this moment, we're seeing the impact of Trump's rhetoric on one of the biggest movie studios in the world. Universal went so far as to yank their official versions of the trailer. Fortunately, they exist elsewhere. For now.

The question is, what happens to The Hunt now? Will Universal allow Blumhouse to take the movie elsewhere? Because people really do want to see it, and I hope all of this nonsense causes it to be an even bigger hit. History hasn't been kind to movies in this kind of situation, though. 

Read More

Review: ‘The Public', Emilio Estevez Leads An All-Star Cast In A Heavy-Handed Display Of Civil Disobedience

As we are now in the age of the Internet, many people don’t frequent the public library as we did years ago.  In recent years, libraries have become a refuge for many homeless members of our society as not just an indoor place of relief to get away from either the heat or the cold, but also a place for communal gatherings, and a plethora of books to help keep idle minds busy (and of course, the Internet) and is one of the few places besides a shelter where they feel welcome.  It’s actually surprising that there hasn’t been a movie like The Public made before (it is a tough sell to do), but writer/director (and slowly aging) Emilio Estevez shines a light on how we treat the most vulnerable of society members in this well-cast film about one day the homeless decide they don’t want to leave after closing time.

Set in the Cincinnati Public Library, Stuart (Estevez directing himself) is the librarian who goes about his normal duties, operating as middle management at the library: helping people find the books they need, dealing with his uber-liberal co-worker Myra (Jena Malone) who won’t stop talking about her and his carbon footprint every two seconds (the film wears its liberal shirt on its sleeve), and of course, helping the many homeless people who frequent his library.  For the most part, it seems like a normal day.  However, this is Cincinnati, and it’s during the winter.  We only need to remember the polar vortex a few months ago to know that living outside and freezing temperatures don’t mix very well.  The library closes at night and the homeless patrons have to leave at closing time and search for an overcrowded shelter if they are lucky.

That night, Jackson (Michael K. Williams) talks with some of his friends about the idea of just simply staying in the library “Occupy Wall Street” style to stave off the elements.  It seems like a logical thing in a world where the library has vast amounts of space, why not let them declare is an emergency shelter, especially during a cold winter that could literally kill them if they stay outside during it.  Stuart, who has his own problems with the city and the library’s bureaucracy in regards to his employment status after kicking one disgruntled homeless person out, finds himself in the middle of it, and he decides to cross the line and help them engage in some civil disobedience.

So of course, the local politicians and police are cool with this right?  Of course not!  Local district attorney Josh (Christian Slater), in the middle of a losing campaign see this as an opportunity to bump up a few points in the polls in the name of “law and order” and enlists expert police negotiator Bill Ramstead (Alec Baldwin) to find a way to shut the protest down.  Bill, of course, has his own problems having to deal with his runaway homeless addict son, who why isn’t he more sympathetic?  Head librarian Anderson (Jeffrey Wright) while sympathetic to Stuart and the homeless does his best to remain neutral.  As the story starts picking up in the news, local reporter Rebecca (Gabrielle Union) sees this as a means to finally get her big break (and Instagram followers), so she sensationalizes the hell out of the story.

While a noble effort, The Public is a little too on the nose with its message.  While not entirely predictable, the film definitely goes through an Oscar bait checklist as it progresses.  Stuarts sudden romantic affair with his building super Angela (Taylor Schilling) doesn’t really add much to the plot and his sympathy towards the homeless (because of his past) is fairly predictable.  Even the notion of evoking Occupy Wall Street feels a few years too late.  The additional cast includes Jacob Vargas, Richard T. Jones and Che "Rhymefest" Smith (doing a great job as one of the homeless people who displays his own mental illness and insecurities) do an outstanding job with the work they have.  While the ending is somewhat predictable (and funny), it’s also very realistic and not overdone for the sake of having some sort of happy ending.

The Public is a worthy effort, it has a lot crammed into for the sake of being “woke” that probably should not have all been included in the film.  But as long as it gives us a chance to actually stop and think about how we treat the homeless, it’s all good, even if we are force-fed it.

Rating: 2.5/5

Read More