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 a lot 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 — its release, in fact, feels almost karmically synched to the week of the Harvey Weinstein verdict.
Yet there’s one way that the movie is old-fashioned:Cecilia Kass (Elisabeth Moss), a Bay Area architect who has just escaped from a toxic relationship, finds herself stalked and terrorized by what
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