movie review the invisible man

The Invisible Man

The abusive male himself might be unseen, but the fear he spreads is in plain sight in "The Invisible Man," Leigh Whannell '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 ( Elisabeth Moss ) 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— James Whale 's circa 1933 pre-code classic, adapted from H.G. Wells' 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 Kitty Green 's " The Assistant "—a long-delayed revolution that shouldn't be cheapened or misused. Thankfully, the Australian writer/director behind the wildly successful " Saw " and " Insidious " franchises, comes equipped with both sufficient visual panache—"The Invisible Man" recalls David Fincher 's Bay Area-set masterwork " Zodiac " and the mazy quality of James Cameron 's spine-tingling " Terminator 2: Judgment Day " 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 Stefan Duscio with elegant, clever camera moves in bedrooms, attics, restaurants and secluded mansions: a vigilant focus on Cecilia's isolation. That isolation, intensified by Benjamin Wallfisch '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 we 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 Julia Roberts ' 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 ( Oliver Jackson-Cohen ), gets picked up by her sister Alice ( Harriet Dyer ) after some heart-stopping setbacks and takes refuge with her childhood best friend James ( Aldis Hodge )—a resourceful cop living with his teenaged daughter Sydney ( Storm Reid ), 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 Michael Dorman ) claims, handling his late sibling's estate and inheritance. In that, Cecilia soon puts the pieces of the puzzle together, discovering that Adrian had invented an armor of invisibility (dear reader, this good-looking piece of scientific artifact is the premise, not a spoiler), which he would be using for a complex scheme of gaslighting as a sadistic form of revenge—a reality she can't prove to anyone. There will be floating knives, pulled comforters, and eerie footprints. You might let out a scream or two.

The certified contemporary queen of unhinged screen heroines—just consider " Her Smell ," "The Handmaid's Tale," " Us " and the upcoming " Shirley " collectively—Moss excels in these creepy scenes with her signature verve. 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's script and direction generously allow Moss the room to stretch those complex, varied muscles, while casually winking at an empowered final girl for this side of the 21st century.

Tomris Laffly

Tomris Laffly is a freelance film writer and critic based in New York. A member of the New York Film Critics Circle (NYFCC), she regularly contributes to  RogerEbert.com , Variety and Time Out New York, with bylines in Filmmaker Magazine, Film Journal International, Vulture, The Playlist and The Wrap, among other outlets.

• Oliver Jackson-Cohen as Adrian Griffin / The Invisible Man
• Elisabeth Moss as Cecilia Kass
• Storm Reid as Sydney
• Aldis Hodge as James
• Harriet Dyer as Alice
• Michael Dorman as Tom
• Benjamin Wallfisch

Writer (based on the novel by)

• Leigh Whannell

Writer (story by)

Cinematographer.

• Stefan Duscio

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‘The Invisible Man’: Film Review

In a rousingly up-to-the-minute sci-fi update, Elisabeth Moss is powerful as a woman stalked by a toxic ex no one can see. So who will believe her?

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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These days, the horror-fantasy thriller tends to be a junk metaphysical spook show that throws a whole lot of scary clutter at the audience — ghosts, “demons,” mad killers — without necessarily adding up to an experience that’s about anything. But in “ The Invisible Man ,” Leigh Whannell’s ingenious and entertaining update of a concept that’s been around for 120 years (and recycled less often than you’d think), the thrills don’t just goose you; they have an emotional import. This gratifyingly clever and, at times, powerfully staged thriller is too rooted in our era to be called old-fashioned — in fact, its release feels almost karmically synched to the week of the Harvey Weinstein verdict. Yet there’s one way that the movie is old-fashioned: It does an admirable job of taking us back to a time when a horror film could actually mean something.

Cecilia Kass ( Elisabeth Moss ), a Bay Area architect who has just escaped from a toxic relationship, finds herself stalked and terrorized by her tech-mogul ex, Adrian (Oliver Jackson-Cohen), who has figured out a way, through advanced digital imaging, to make himself invisible. Early on, he invades a bedroom, unheard and unseen, waiting for the perfect moment to pull off the bed covers and leave Cecilia utterly freaked out. But that’s just the beginning. Infiltrating communal office spaces, corporate boardrooms, and asylum cells, Adrian becomes a silent unseen force of deadly vengeance. He can drug you, he can steal your work portfolio, he can dash off fake emails and, more than anything, toy with your mind. He’s the invisible gaslighter.

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In James Whale’s famous 1933 poetic sci-fi horror film, the invisible man was a spectral presence, played by Claude Rains as a haunted but delicate figure swathed in bandages — one whose vanishing act was treated, in the end, as a kind of affliction. The idea of the invisible man as an aggressive invader, on the other hand, a human monster who can strike at any moment, creates a highly charged set-up for fear and tension, and the new “Invisible Man” is a logistical mind-game suspense film staged with killer verve.

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It would be easy to imagine a version of this movie that’s nothing more than a slickly executed victim-meets-tormenter-you-can’t-see, cat-and-mouse action duel. But Whannell, who was James Wan’s original collaborator on the “Saw” and “Insidious” films, and who directed “Insidious: Chapter 3” and “Upgrade,” has something more pleasurably ambitious in mind. Cecilia, who’s crashing for a while at the home of her childhood friend, a courtly police officer named James (Aldis Hodge), and his high-school-senior daughter, Sydney (Storm Reid), makes a few fumbling attempts to explain what’s going on to them. But even they don’t buy what she’s saying. That sounds like a standard hurdle the heroine of a sci-fi drama has to get over, only in this case the fact that everyone thinks Cecilia is seeing things — or, more to the point, seeing a tormenter she isn’t able to see — is the source of the film’s tingly, anguished resonance.

The traumatic power of Moss’s performance is that she acts out the convulsive desperation and rage of a woman who is being terrorized and, at the same time, totally not believed about it, even by those closest to her. “The Invisible Man” is a social horror film grounded in a note-perfect metaphor. It’s the story of a woman who got sucked into a whirlpool of abuse and now finds that she can’t free herself, because the abuse remains (literally) out of sight. She’s every woman who’s ever had to fight to be heard because her ordeal wasn’t “visible.”

The early scenes fill in the endgame of Cecilia’s relationship with Adrian, a sick-puppy genius of optics technology who plays like a more malevolent knockoff of Oscar Isaac’s control-freak tech guru from “Ex Machina.” Adrian lives in a remote glassy mansion perched high in the hills over San Francisco (its surveillance center looks like something out of the Batcave), and he has essentially made Cecilia his prisoner, promising to kill her if she leaves. That’s why she wakes up with a hidden bottle of Diazepan (what used to be known as Valium), having drugged him to sleep, so that she can run out to the road below and be rescued by her sister, Alice (Harriet Dyer).

Whannell establishes a mood of suck-in-your-breath paranoia, as the figure we assume is Adrian shows up to torment Cecilia. Officially, he is dead (a suicide). Cecilia has even been named in his will; she’s getting a trust of $5 million to be given in monthly increments of $100,000. But, of course, that’s all too good to be true, especially when Cecilia starts promising to pay for Sydney’s tuition at Parsons School of Design. Moss acts with a slow-burn anguish that expresses the terror of how a bad relationship can keep its hooks in you long after you’ve shaken yourself free of it.

Adrian, now devoting his existence to torturing Cecilia (to the point that he’ll deny his own existence), launches his game of terror, and she fights back, even as those around her are convinced that she’s losing her marbles. They think she’s still so caught in Adrian’s grip that she’s hallucinating his presence. For a while, her sister becomes her enemy, but Cecilia agrees to have a rapprochement with her in a very public place — a posh Chinese restaurant, where the movie catches us up in an acerbically funny scene that skewers the latest in unctuous waiter etiquette. But it’s just setting us up for the kill. What happens next is jaw-dropping, oh-no-he-didn’t! crazy-awful-thrilling. It’s a scene that ups the stakes.

The way invisibility is achieved in “The Invisible Man” is pure fantasy, though it’s been given just enough of a seductive “technological” underpinning. Whannell uses it to stage the action with brute-force originality, as in a sequence where the invisible man, popping in and out of sight like a faulty green screen, cuts down an army of hospital security guards, one by one. And the culminating encounter at Adrian’s house makes for a delectable meeting of the minds. “The Invisible Man” is devious fun, with a message that’s organic enough to hit home: that in a toxic relationship, what you see is what you get — but the thing that gets to you is what you don’t see.

Reviewed at Dolby 88, New York, Feb. 18, 2020. MPAA Rating: R. Running time: 124 MIN.

• Production: A Universal Pictures release of a Blumhouse Productions, Dark Universe, Goalpost Pictures production. Producers: Jason Blum, Kylie du Fresne. Executive producers: Rosemary Blight, Ben Grant, Beatriz Sequeira, Jeanette Volturno, Leigh Whannell.
• Crew: Director, screenplay: Leigh Whannell. Camera: Stefan Duscio. Editor: Andy Canny. Music: Benjamin Wallfisch.
• With: Elisabeth Moss, Oliver Jackson-Cohen, Aldis Hodge, Storm Reid, Harriet Dyer, Michael Dorman, Benedict Hardie.

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Elisabeth Moss Makes The Invisible Man Worth Seeing

There’s an expression Elisabeth Moss makes that’s right between a grimace and a grin, a baring of teeth that has the rough shape of something friendly without being friendly at all. What’s so unsettling about it is that it manages to appear involuntary — the result of a facial spasm rather than any conscious choice, a signal of inner turmoil making itself visible on the outside, stress causing a body to slip control in all sorts of minute ways. It’s a look that Moss has had plenty of opportunities to deploy over the last few years — while having a freak-out vacationing with a best frenemy in Queen of Earth , or carving up her own face with a pair of scissors as a Tethered terror in Us . Moss has established herself as an empress of the onscreen breakdown, our lady of ruined eye makeup , and that sneer-smile is one of the most powerful tools in her arsenal. The performance she gives as Cecilia Kass, a traumatized survivor of an abusive marriage in The Invisible Man , feels like it was built around it.

The story behind this incarnation of The Invisible Man is as 2020 as the movie’s Me Too inflections. Four years ago, Johnny Depp was cast to play a riff on the H.G. Wells creation as part of Universal Pictures’ doomed efforts to leverage its library of classic movie monsters into a tentpole franchise. But dreams of a Dark Universe died with the Tom Cruise–led 2017 disaster The Mummy , leading the studio to cut its losses and let horror magnate Jason Blum take a whack at a stand-alone reboot for a fraction of the budget. Whatever superhero-but-make-it-goth take on the concept execs might have originally had in mind, it’s safe to say that this unexpected result, written and directed by Saw alum Leigh Whannell, is wildly more interesting. The Invisible Man is not as smart as it could have been, but the concept is ingenious even if the execution gets slapdash. And with Moss at the center, it doesn’t matter all that much — she sells what’s approached as B-movie material with the unwavering dedication of someone starring in a prestige biopic.

Her character, Cecilia, is married to Adrian Griffin (Oliver Jackson-Cohen), a pioneer in the field of optics, whose work is conducted on the lower floor of the chilly modern mansion the couple shares. Or did — the film begins with Cecilia making a suspenseful escape in the middle of the night, scaling the fence of the property and finding her way to her sister Alice’s (Harriet Dyer) car. One of Whannell’s best calls is to leave Cecilia’s isolated life under Adrian’s possessive, violent control offscreen, because the details are transmitted more eloquently on Moss’s face than in her character’s halting accounts. They’re there, as well, in Cecilia’s quavering reluctance to leave the suburban house in which she takes refuge — one that belongs to her hunky but resolutely platonic friend James (Aldis Hodge) and his teenage daughter Sydney (Storm Reid). Then Adrian dies by suicide, or at least that’s what Cecilia’s told by his brother Tom (Michael Dorman), who also happens to be his attorney. She doesn’t believe it, doesn’t think he’s capable, and soon enough, we’re given reason to believe she’s right.

A more considered movie might have lingered in that moment of ambiguity, letting us understand its main character’s paranoia and the ways in which PTSD can turn the whole world into an untrustworthy place. But The Invisible Man is in enough of a hurry to get to its set pieces that there’s never really any doubt that an imperceptible presence is menacing Cecilia, starting kitchen fires as soon as she steps away from the stove and pulling the covers off her body at night. These sequences are cleverly conceived, highlighting the vulnerability of the film’s heroine while teasing where its villain might be lurking by leaving stretches of negative space in the frame, or letting the camera linger on seemingly empty hallways and corners. But between a confounding timeline and characters who turn on Cecilia abruptly because the plot needs them to, it’s in connecting these scenes that the film flounders.

Whannell seems a lot more interested in the literal consequences of being haunted by an abuser than the psychological ones, but Moss holds the film together with her deeply committed performance, and in particular with the defeated air that she gives Cecilia, one that’s always there under her recovering cheerfulness or displays of brittle defiance. She understands that this is a film about a woman who’s stopped believing she’ll ever really feel safe again. The Invisible Man is a depiction of gaslighting, sure, as the strange happenings in the house start making everyone around Cecilia doubt her sanity. But it’s also about what it means to have long ago accepted that people don’t look past the shiny surfaces of things. When Cecilia gives one of those half smile, half grimaces, it’s with the resigned expectation that no one will see anything wrong with it. Enduring abuse, and having your pain and fear go unseen, can be its own form of invisibility.

• the invisible man
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Parents' guide to, the invisible man.

• Common Sense Says
• Parents Say 19 Reviews
• Kids Say 48 Reviews

Common Sense Media Review

Clever, tense sci-fi horror remake has blood, gore.

Parents Need to Know

Parents need to know that The Invisible Man is officially a remake of the classic 1933 Universal monster movie (based on an H.G. Wells story) but is an almost entirely new blend of sci-fi and horror. Expect intense violence: Women are punched, dragged, and thrown by invisible forces; throats are sliced (with…

Why Age 15+?

Throat-slicing, with blood spurts. A character is beaten relentlessly, more bloo

A few uses of "f--k" or "f---ing." Also "motherf----r," "ass."

Main character wears Nike shoes in several scenes.

Characters are dosed with Diazepam (an anxiety drug that causes drowsiness). Bot

A woman wearing a nightgown is shown in bed with her husband.

Any Positive Content?

Cecilia is three-dimensional, humanly flawed. She's clearly a victim, sometimes

Ultimate takeaway is focused on revenge -- of giving your persecutor a "taste of

Parents need to know that The Invisible Man is officially a remake of the classic 1933 Universal monster movie (based on an H.G. Wells story) but is an almost entirely new blend of sci-fi and horror. Expect intense violence: Women are punched, dragged, and thrown by invisible forces; throats are sliced (with spurting blood); a man is beaten relentlessly with more blood, guns, and shooting; characters die; and more. Language includes uses of "f--k," "motherf----r," and "ass." Characters are dosed with Diazepam (an anxiety drug that causes drowsiness), and a bottle of champagne is shown, followed by characters saying they have hangovers. Sex isn't an issue, but a married couple is shown sleeping in bed, and a woman is said to be pregnant. There are a few story flaws, but the production is excellent overall, with an interesting female lead.

To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Violence & Scariness

Throat-slicing, with blood spurts. A character is beaten relentlessly, more blood spurting. Abusive husband shatters a car window, grabs his wife as car drives away. Women are punched, dragged, thrown against walls, thrown across rooms by an invisible figure. Guns and shooting. Dead bodies. Taser. Near wrist-cutting. Several jump scares. Car crash. Fire in a kitchen.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Characters are dosed with Diazepam (an anxiety drug that causes drowsiness). Bottle of champagne is shown; characters later say they have hangovers.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Positive Role Models

Cecilia is three-dimensional, humanly flawed. She's clearly a victim, sometimes meek, scared, running away. But she's also clever and strong in her own ways, able to come up with potential solutions, sometimes at last second and in heat of moment. Features strong, positive Black characters, as well as fully rounded women characters.

Positive Messages

Ultimate takeaway is focused on revenge -- of giving your persecutor a "taste of his own medicine."

Where to Watch

Videos and photos.

Parent and Kid Reviews

• Parents say (19)
• Kids say (48)

Based on 19 parent reviews

The most terrifying movie I have ever seen

I’m not a horror fan, but this is probably the best scary movie I’ve seen other than Annihilation.

Violent film that is superbly acted

What's the story.

In THE INVISIBLE MAN, Cecilia ( Elisabeth Moss ) creeps out of bed, leaving behind her sleeping, drugged boyfriend, Adrian ( Oliver Jackson-Cohen ), and sneaks away from his Stinson Beach mansion. Staying with friends -- police officer James ( Aldis Hodge ) and his teen daughter, Sydney ( Storm Reid ) -- Cecilia worries that the abusive, controlling Adrian will come after her. But before long she learns that Adrian is dead, having taken his own life. Soon accidents and other strange things start happening, and as they become more serious, Cecilia begins to suspect that Adrian is somehow not dead and is able to make himself invisible. However, convincing anyone of that scenario proves difficult, especially when all the evidence of a brutal murder points toward Cecilia.

Is It Any Good?

With this updated take on the H.G. Wells tale, writer-director Leigh Whannell has done just about everything right, delivering a tense, clever thriller with touches of both horror and sci-fi. Officially a remake of James Whale's classic 1933 Universal monster movie , this version of The Invisible Man retains the idea of the invisible person being murderously psychotic but combines it with paranoid, "falsely accused" touches right out of Alfred Hitchcock or Fritz Lang. Whannell ( Insidious: Chapter 3 , Upgrade ) uses a wide-screen frame to brilliant effect, creating suspense with large, empty spaces and with red herrings, such as mannequins or creepy sculptures.

The movie's use of sound and music is also superb; Benjamin Wallfisch's edgy, scraping score seems to come from everywhere at once. The visual effects are inspired, and this is the first time in an Invisible Man movie that invisibility isn't created by chemicals. Moss is another magnificent touch. Not only does she give a concentrated, fully rounded performance, but her character is fascinatingly flawed and appealingly tough. The only real issues with the film reveal themselves as the story comes to a head, and certain details become just a little less air-tight. But this is easily forgivable given the fine craftsmanship in all other areas of The Invisible Man .

Talk to Your Kids About ...

Families can talk about The Invisible Man 's violence . When is it shocking, and when is it thrilling? How did the filmmakers achieve these effects? What's the impact of media violence on kids?

Why is revenge so appealing as a story driver? How does revenge end for the main character in this case? How does revenge usually work in real life?

How does this story compare to the original Invisible Man movie? The novel? What's been changed or updated?

Is the movie scary ? What's the appeal of horror movies?

How does the movie show diversity? Are all of the characters three-dimensional? Did you notice any stereotypes ?

Movie Details

• In theaters : February 28, 2020
• On DVD or streaming : May 26, 2020
• Cast : Elisabeth Moss , Oliver Jackson-Cohen , Aldis Hodge
• Director : Leigh Whannell
• Inclusion Information : Female actors, Middle Eastern/North African actors, Black actors
• Studio : Universal Pictures
• Genre : Horror
• Topics : Book Characters
• Run time : 110 minutes
• MPAA rating : R
• MPAA explanation : some strong bloody violence, and language
• Last updated : August 26, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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The Invisible Man

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 ... Read all 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. 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.

• Leigh Whannell
• Elisabeth Moss
• Oliver Jackson-Cohen
• Harriet Dyer
• 2K User reviews
• 488 Critic reviews
• 72 Metascore
• 43 wins & 84 nominations

Top cast 35

• Cecilia Kass

• Adrian Griffin

• James Lanier

• Sydney Lanier

• Tom Griffin

• Marc (Architect)

• Lyft Driver

• Taylor (Waiter)
• Screaming Woman

• Head Doctor
• Police Officer

• Detective Reckley

• Strike-Stun Guard
• (as Serag Mohammed)

• Security Guard
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Leigh Whannell chose not to have an opening establishing Cecilia's predicament with Adrian "because I wanted to just drop the audience into Cecilia's situation without any back story and make them feel everything through her, and luckily I had Elisabeth Moss who is very good at communicating a lot to the audience without saying anything."
• Goofs Cecilia passes out at a job interview from a high dose of diazepam (Valium). But if she had that much drug in her system she likely wouldn't have been able to walk into that interview, at least not in a straight line.

Cecilia Kass : He said that wherever I went, he would find me, walk right up to me, and I wouldn't be able to see him.

• Crazy credits The opening credits appear amidst large waves crashing against a cliff, appearing invisible until the waves crash against them and reveal them briefly.
• Alternate versions The UK release was cut, this film was originally seen for advice. The distributor was advised it was likely to be classified 18 uncut but that their preferred 15 classification could be obtained by making small changes to one scene to remove bloody injury detail during an attempted suicide. When the film was submitted for formal classification, the shots in question had been removed and the film was classified 15.
• Connections Featured in Jimmy Kimmel Live!: Elisabeth Moss/Dan Abrams/Dustin Lynch (2020)
• Soundtracks Kids Performed by Rich Brian Courtesy of 88rising Written by Rappy (as Sergiu Gherman), Tyler Mehlenbacher, Daniel Tannenbaum , Rich Brian (as Brian Soewarno), Adam Feeney (as Adam Feeney), Sean Miyashiro and Craig Balmoris Published by 88Rising Publishing LLC (c) Published by One77 Music LLC (c) Administered by Kobalt Music Publishing Australia Pty Ltd Universal Music Corp., Song of Universal Inc. Administered by Universal Music Publishing Pty Ltd Licensed by EMI Music Publishing Australia Pty Limited (c) Quiet as Kept Music Inc.

User reviews 2K

Creepy domestic violence tale..

• jmbovan-47-160173
• Jun 15, 2020
• How long is The Invisible Man? Powered by Alexa
• Is this still part of the Dark Universe or is it a standalone movie?
• February 28, 2020 (United States)
• United States
• official Amazon
• Official Facebook
• Suitable Flesh
• Headland House, Gerringong, New South Wales, Australia
• Universal Pictures
• Blumhouse Productions
• Goalpost Pictures
• See more company credits at IMDbPro
• $7,000,000 (estimated)
• $70,410,000
• $28,205,665
• Mar 1, 2020
• $144,492,724
• Runtime 2 hours 4 minutes
• Dolby Atmos
• 12-Track Digital Sound

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James Whale's classic The Invisible Man features still-sharp special effects, loads of tension, a goofy sense of humor, and a memorable debut from Claude Rains.

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