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When Blade's mother was bitten by a vampire during pregnancy, she did not know that she gave her son a special gift while dying—all the good vampire attributes in combination with the best human skills. Blade and his mentor battle an evil vampire rebel who plans to take over the outdated vampire council, capture Blade and resurrect a voracious blood god. Blade 1998 review : Blade is tons of fun, particularly when viewed through the nostalgic lens of 90s action cinema. It's also worth noting that the success of this movie - an R rated vampire flick with an African American lead - gave birth to the comic book movie era. The action, effects, and music are silly and dated, plus the story makes no sense. But Blade is nevertheless still fun.
First released in 1998, Blade brought commercial success back to Super Hero films, after the woeful distribution of films like Batman & Robin and Steel stopped the genre in its tracks.

Starring Wesley Snipes as the eponymous Half-Vampire/Half-Human hybrid come Super Hero/Vampire Hunter, Blade works with Dr. Karen Jensen and Abraham Whistler (Kris Kristofferson) in order to defeat vampires Deacon Frost (Stephen Dorff) and Quinn (Donal Logue) and their host of undead soldiers before they can kill Gitano Dragonetti (Udo Kier) and the other vampire Elders in a ritual that will transform Deacon Frost into La Magra, the vampire Blood God.

With me so far? No? That figures. The script's interesting, but it's not terribly sense-making. What I mean to say, is, the script's rubbish, but the *story* is great. The whole film is really rather story and effects driven, but the characters are pretty lacking. Quinn is sort of fun, and Deacon's... well... he's attractive, but not a lot else. Still, there's more to him than most of the characters, including the titular Blade.

Straight up, just putting out there, I think goth-culture is attractive, so, my aesthetics may go quite a way to influencing my decision in the final score, if you disagree with me, you might want to keep that in mind, seeing as most vampires have at least a little bit of that going on. All that aside though, the opening of Blade is one of the strongest ways a film can start off that I've ever seen. It has basically everything you could want for a modern vampire tale. Including the Blood Rave song, Confusion (Pump Panel Remix) by New Order.

The cinematography was another cool point, lots of ins and outs in a non-nauseating way. Although the fight choreography suffered from a serious case of "Only-One-Guy-Attacks-At- A-Time" Syndrome. Come on guys, this ain't Tekken. When there's an army to fight, fight an army. Maybe not all at once, I know that could get a tad pointless, but it really didn't transfer well in this film.

To end with, there's one plot-hole I'd like to bring up, I don't think I'll be spoiling anything too badly, but if you want to go in completely fresh, stop reading. There's one point when Frost says he needs to kill the 12 Elder vamps in a big underground ritual in order to complete his ascendancy into the Blood God (Khorne?), but he kills the leader earlier, on a beach. Okay, so maybe he wasn't counted, and he was actually number 13. But, Frost's lady-friend Mercury kills another with Blade's sword, before the ritual gets started, and nobody seems to care... I am dubious- faced.

After all that though, Blade is a vampire film that's not slow like Nosferatu, and not indescribably awful like Twilight, so for people with tastes like mine, it's certainly worth a geez.

66%

-Gimly
The Daywalker.

Half human and half vampire, Blade's function in life is to rid the world of vampires, he is driven forward by the notion that his mother was killed by his half brethren.

This is no ordinary vampire film, this is nothing to do with bearing crosses and creatures making music of the night, this is armoured weaponry, dazzling swordplay and a protagonist that is as cool as anything that has leaped off of the comic book page. Wesley Snipes (perfect piece of casting) is Blade, a much troubled superhero (aren't they all?), he has to take a formula suppressant to keep away his inner vampire cravings. Aided by trusty pal, Whistler (Kris Kristofferson), they wage war against all blood suckers and here they must stop the sinister Deacon Frost (Stephen Dorff) from executing his monstrous plan.

There are no cranial pondering's here in this piece, this is a joyously high velocity action horror movie, containing great choreography and retaining its comic book heart. Blade is pure popcorn fodder for the MTV generation, in fact director Stephen Norrington utilises his music video background to great effect as the combat scenes are scored with delightful sledgehammer precision. Blood brains and gore flow freely as the film hurtles towards the head splitting conclusion, loud, dark and tinged with brooding menace, Blade is hugely recommended for a ripper of a night in. 7.5/10
Some good fight scenes and like Snipes in the role (reminded me of a time when he was trying) and Stephen Dorff was an okay villain, plus it was a serviceable plot. However, and I know this was 1997/98 when it was made, but the CGI at the end took me out of it (hell, good CGI done today takes me out of these sorts of films). But all in all, found it entertaining enough. **3.75/5**

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Peninsula crew : Kim Suk-won, Cho Sang-kyung, Kim Woo-taek, Mowg, Yeon Sang-ho, Yeon Sang-ho, Lee Dong-ha, Lee Hyung-deok, Park Jeong-woo, Jang Kyung-ik
Peninsula release date : 16 August 19 5 5
Peninsula runtime : 114 Minutes
Peninsula Crew : Kim Suk-won, Cho Sang-kyung, Kim Woo-taek, Mowg, Yeon Sang-ho, Yeon Sang-ho, Lee Dong-ha, Lee Hyung-deok, Park Jeong-woo, Jang Kyung-ik
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- Jake Watt

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https://www.maketheswitch.com.au/article/review-peninsula-an-action-packed-but-brainless-follow-up-to-a-horror-classic
**Summary**
I had decently high hopes for this, given it is my favorite genre and Train to Busan was pretty good. However, this was a major disappointment.

**The good**
The plot, set four years in the future from Train to Busan and decent build-up with ok back story to most things going on. General atmosphere is also nice.

**The bad**
Giant plot holes, some so large and obvious it is almost impossible to enjoy the movie.

Vehicle CGI, especially the physics. It is so bad my dead dog would make it better. To make matters worse these scenes make up for an unreasonably large portion of the movie. I got seriously angry watching it, and I love zombies and car chases.

The violently over dramatic ending. This is comedy level shit, even if the rest of the movie was good, this would have destroyed it.
Peninsula came amidst extremely high expectations for being the sequel of one of the best zombie movies ever. This movie is completely unrelated to its prequel, _Train to Busan_, so you can watch it even if haven't seen the first one. The plot follows another group who fled from Korea in a refugee boat to Hong Kong. Fast-forward 4 years, the surviving members of the group return to a deserted Korea to ransack the abandoned money. A task that should be easy, but Incheon is not as deserted as they thought it would be.

With a lot of action scenes and good visual effects, Peninsula failed in the casting of the support roles. The main actors are pretty good, but the acting of the foreigner (that is, non-Korean) characters is laughable. Also, parts of the plot and some actions scenes are highly implausible, to say the least.

However, Peninsula is still a very good movie, ranking high in the "Best Zombie Movies" list. It didn't live up to the expectations from _Train to Busan_, but perhaps the bar set by the prequel was just too high.
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Train to Busan is one of my favorite South Korean films ever, and I firmly defend that it's one of the best zombie apocalypse movies of all-time, maybe even the best. Therefore, I couldn't help but feel incredibly excited about another installment set in the same world. It's not a direct sequel to the original's story, but it seems to be placed just after the pandemic began. Unfortunately, it ends up being a huge disappointment.

Despite the jaw-dropping stunt work and the extremely intense action sequences, the reason why Peninsula's predecessor works so well is due to its focus on the characters. By giving them a compelling development and a strong emotional bond, the zombie outbreak becomes instantly more effective because of our immense concern for everyone involved. Every technical element is dialed up to its maximum, transforming the film into an emotionally devastating, heart-wrenching story.

Yeon Sang-ho tries to follow a shortcut to achieve that same emotion of his previous movie, dooming this "sequel" from the very beginning. Every relationship feels forced, and the supposedly heartbreaking decisions/events are a complete target miss. Even the action scenes fail to live up to the original's level due to excessive CGI in ridiculous car chases. Every fifteen minutes, a major logical issue arises, and some characters are either straight-up dumb or unbelievably smart for their age/experience. Peninsula takes the realistic environment established by Train to Busan and fictionalizes it way too much.

Rating: C-
**Your talking to a MAJOR Korean Film fan...Looong before Parasite.. Ive literally been mostly watching Korean films (FAR more than American content) the past several years... so I dont like saying this but this wasnt one of there better ones.. and I KNOW it has to do with the genre.... I am about as Zombied out as one can get...Train to Busan was a excellent film tho... Just wasnt crazy about this tho**

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Title : The Invisible Man
The Invisible Man genre : Thriller, Science Fiction, Horror
The Invisible Man crew : Terri Taylor, Leigh Whannell, Leigh Whannell, Leigh Whannell, Benjamin Wallfisch, H.G. Wells, Nikki Barrett, Emily Seresin, Jason Blum, Daniela Saioni
The Invisible Man release date : 17 July 19 7 1
The Invisible Man runtime : 124 Minutes
The Invisible Man Crew : Terri Taylor, Leigh Whannell, Leigh Whannell, Leigh Whannell, Benjamin Wallfisch, H.G. Wells, Nikki Barrett, Emily Seresin, Jason Blum, Daniela Saioni
The Invisible Man cast :
Elisabeth Moss, Aldis Hodge, Storm Reid, Michael Dorman, Harriet Dyer, Oliver Jackson-Cohen, Benedict Hardie, Zara Michales, Renee Lim, Sam Smith
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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. The Invisible Man 2020 review : While 'The Invisible Man' isn't perfect, it is (like 'Upgrade') a thoughtful take on the genre, cleverly using on- and off-screen space and delivering each big scare like an effectively-timed punchline.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-the-invisible-man-paranoia-gaslighting-and-spookiness
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As you should know by now, I avoid trailers at all costs, especially for highly anticipated movies. I'm careful enough already, but once I heard the massive complaints about the trailer for The Invisible Man, I made sure to not even listen to it, let alone see something from it. My expectations got higher as the release date approached, and the overwhelmingly positive reactions reached my attention, so obviously, I couldn't help but get excited. I love The Handmaid's Tale, and I always thought it was a matter of time until Elisabeth Moss brought her phenomenal acting skills to the big screen. She just needed a big film to do it...

And this is the one. Elisabeth's performance is yet another horror display for The Academy to ignore when the year comes to a close. In comparison to Hereditary's Toni Colette or Us' Lupita Nyong' o, I admit that I would give an Oscar to one of these two over Moss. However, this is one of the main issues I have when people compare things from different years: it's extremely unfair and a bit irrational. Something "great" in a specific year can be just "okay" in the next one. It depends on each year's quality regarding movies and their cast's performances.

If Moss truly ends up delivering the best interpretation of the year, she should receive recognition independently of other year's injustices. With that said, based on my experience, I firmly believe Elisabeth Moss should be one of the contenders for the respective category during the awards season. I'm not saying she should be nominated or not, I'm saying that she should be one to think of when it's time to fill the ballot with the nominees. She is relentlessly exceptional during the whole runtime. There isn't a single moment where she drops her level. Impressive!

Regarding the story, it's probably the best adaptation of The Invisible Man to the actual world that they could have done. Of all the meaningful and sensitive real-world themes, Leigh Whannell chose the very best to insert in his film. Domestic violence and abuse is a tremendously serious topic, and Whannell addresses it perfectly. It's a remarkably clever screenplay, with tons of tiny little details that relate in some shape or form to the real-life situations a lot of people (women AND men, let's not pretend this is an exclusively female problem) go through.

It's one of the best horror movies I've seen lately when it comes to creating a suspenseful, scary environment, mostly based on something that feels incredibly realistic. Taking the sci-fi aspect of, well, dealing with an invisible person, the menacing silence and haunting score work as well as they do because I'm able to feel the protagonist's fear. Stefan Duscio's cinematography is one of the main reasons why this film is filled with so much efficient suspense. The camera constantly pauses on one side of the room the character's in, lingering on for some seconds, creating a certain doubt if something's moving or if someone's there.

This point-of-view (POV) shot works exceptionally well for the whole movie. Being able to see what the main character is seeing, it's also possible to think what she's thinking and feel what she's feeling. That awkward, frustrating, unnerving, uneasy feeling that something's not right. Then, Whannell proves he knows his film's own weaknesses. When it starts to lose a bit of its entertainment value, and when the audience begins to get used to the long, suspenseful sequences (of which probably half, nothing happens), he hits the narrative with an unexpected, shocking turn of events in the most jaw-dropping way possible.

This particular decision got the blood heavily pumping again, and it delivered the energy I needed to be at the edge of my seat until the very end. However, the ending is a tad underwhelming, and maybe a bit over-the-top concerning some character's decisions. I can't really get into spoiler territory, so I'll just write I don't really think that the last scene is very coherent with everything the movie showed until that point. Even though I understand and respect this narrative decision, I don't believe its message is the one the film wanted to transmit. Good performances from the rest of the cast, a few character's decisions are a bit hard to believe, but I don't want to be nitpicky.

In the end, The Invisible Man deserves all the hype it's been getting. Leigh Whannell crafted a genuinely scary and extremely suspenseful horror movie, based on a traumatic real-life situation that a lot of people, unfortunately, go through. Elisabeth Moss delivers an emotionally powerful performance, demonstrating all of her impressive acting abilities which are probably going to be ignored when the awards season comes around (the usual horror genre bias). Incredibly well-written, intelligent screenplay, supported by some terrific camera work by Stefan Duscio. The haunting score from Benjamin Wallfisch is also a standout, especially when it chooses to be completely silent. I'm not a fan of the slightly incoherent ending since some character/narrative decisions seem hard to believe, and the final message didn't really have the meaning it should. Nevertheless, it's one of the best films of the year so far, so don't miss it!

Rating: A-
**_Starts brilliantly but ultimately undermines itself with plot contrivances and genre foolishness_**

>_I went over the heads of the things a man reckons desirable. No doubt invisibility made it possible to get them, but it made it impossible to enjoy them when they are got._

- H.G. Wells; _The Invisible Man_ (1897)

H.G. Wells's original _The Invisible Man_ (1897) suggests that rather than something as powerful as invisibility being used for the betterment of mankind, it would instead be used to fulfil private desires, ultimately leading to the moral corruption of otherwise good men. In probably the best cinematic adaptation, Paul Verhoeven's _Hollow Man_ (2000), this is taken much further, with the suggestion that the results of invisibility would be nothing less than sexual violence, evil, and madness. However, despite the centrality of this theme in the core story, reframing the template as a modern tale of domestic abuse and PTSD, as happens in this latest adaptation, is a fascinating idea. Reorienting the narrative so it no longer focuses on the male scientist but on a female victim of his machinations creates the potential for some timely #MeToo social commentary, particularly as it relates to issues of not believing women who accuse powerful men of gaslighting. But potential only gets you so far, and what could have been a really insightful film eventually proves itself relatively incapable of using issues of domestic abuse as anything other than plot points to get from one predictable scare to the next. It tries to have its cake and eat it – it wants to be an allegory for the problems women face leaving abusive relationships but it also wants to be an effective monster movie. And, ultimately, it ends up as neither.

The film begins as Cecilia Kass (Elisabeth Moss) is putting into motion a plan to leave her domineering and abusive boyfriend, Adrian Griffin (Oliver Jackson-Cohen), a wealthy pioneer in optics. Having drugged him, she leaves their high-tech home in the middle of the night and is picked up nearby by her sister Emily (Harriet Dyer), who takes her to stay with their childhood friend, James Lanier (Aldis Hodge), a policeman living with his daughter Sydney (Storm Reid). Although assured that Adrian can't find her, Cecilia is clearly suffering from agoraphobia and paranoia. That is until Adrian commits suicide. Contacted by his brother Tom (Michael Dorman), who's handling his estate, Cecilia learns that Adrian has left her $5 million. However, despite her best efforts to move on, she just can't shake the feeling that Adrian is still around, watching her, sometimes even in the same room as her. And the surer she becomes that he's not dead, the more everyone else becomes worried about her mental well-being.

Written and directed by Leigh Whannell (co-creator of the _Saw_ franchise and creator of the _Insidious_ franchise), this latest adaptation of Wells's original is not actually about the invisible man. Indeed, short of a background shot of him lying in bed, a shot showing only his torso as he runs through a forest, and a close-up of his hand, actor Oliver Jackson-Cohen doesn't even appear on screen prior to his apparent suicide. Adrian is not only the invisible man of the plot, so too is his character ideologically invisible. Which makes its own statement, and it's a statement worth making – men like him don't need to be present to continue to cause harm; years of abuse will carry on their work even if they're no longer around. In this sense, at least initially, the film is more concerned with the fear Adrian has instilled in Cecilia; in the early stages, Cecilia's main enemy isn't Adrian so much her inability to move on from him. Along the same lines, the film looks at issues of how women who accuse powerful men of gaslighting are often ignored or openly disbelieved. It is, of course, allegorical insofar as Cecilia isn't claiming that Adrian is just gaslighting her, she's claiming that he's literally turned himself invisible to drive her insane, but some of the best allegory works by exaggeration, and/or rendering something abstract as something more tangible.

Aesthetically, the film looks terrific. Designed by Alex Holmes (_Wish You Were Here_; _The Babadook_; _The Nightingale_), Adrian's house is a modernist maze of glass, mirrors, sliding panels, and open space, and the ultra-high-tech nerve centre from which he controls his kingdom is one of the film's only overt nods to science fiction (aside from the whole invisibility thing, of course). The real aesthetic strength, however, is the cinematography by Stefan Duscio (_Jungle_; _Upgrade_; _Judy & Punch_), into which is built Cecilia's paranoia. For example, countless scenes involve the camera panning away from her, moving across the room, showing us nothing at all, and then panning back. Ordinarily, this would be textbook unmotivated camera movement, but here it conveys how Cecelia fears there may be something in the corner to which we panned. And now, thanks to that camera pan, so do we. There are also many shots which in another film would be awful framing; isolating Cecilia in the frame and filling up so much of the screen's real-estate with empty negative space. Except, again, in this film, such negative space has an ominousness not applicable to regular thrillers. In this way, Whannell can instil fear and dread simply by pointing the camera at an empty room without the need for any FX, VFX, makeup, elaborate props etc (which no doubt played a significant role in keeping the budget down to a minuscule $7 million). And I'd be remiss if I didn't mention Moss's performance, which is excellent, especially given that so much of it is her on her own reacting to nothing whatsoever, having to communicate confusion, fear, anger etc through little more than her expression.

Before talking about why I didn't like the film, however, I want to reiterate that I honestly can't say how much I admire the idea to reconstitute the genre template as a story about domestic violence. And it's an especially timely reconstitution, coming as it does in the era of #MeToo, when so many powerful men, once considered invisible in everything but name, able to perpetrate their crimes with impunity, have been revealed as the monsters they are. So I have no problem with the ideological paradigm shift. My problem is with the execution.

For one thing, we know from the get-go that Cecilia isn't imagining things, that Adrian faked his suicide and is now stalking her whilst invisible. This isn't a twist, and the film makes no attempt to hide it. Granted, this is kind of unavoidable given how well-known the property is, but had the film allowed for even a little bit of ambiguity, it could have done wonders for emotional complexity, turning a story about invisibility into a story possibly about mental collapse. This would have effectively placed the audience in the same position as the other characters, doubting Cecilia's state of mind, which would, in turn, have enhanced the potency of the socio-political allegory. Another thing that bothered me is that in a film so focused on surveillance and privacy, there are several scenes where if there is even one functioning CCTV camera, the movie ends. A pivotal scene in a restaurant is an especially egregious example of this – one grainy image from a camera, and Cecilia can prove she's not going nuts and the whole plot unravels. Also, if you were so convinced that you were being stalked by someone invisible, might it not occur to you to invest in a pair of IR glasses for a few hundred bucks on Amazon? Just a thought.

However, my biggest problem is that what starts as a fascinating study of the lasting ramifications of domestic violence ultimately descends into genre stupidity, with a ridiculously over-the-top final act that says nothing of interest about anything. True, _Hollow Man_ has a pretty over-the-top final act too, but _Hollow Man_ never saw itself as anything other than a schlocky genre affair, whereas _The Invisible Man_ clearly does. The fact that Whannell ultimately undermines himself in this way, deploying such important themes merely to get him to the gory _dénouement_, is especially frustrating insofar as he genuinely did originally seem to have some interesting things to say. Tied to this is that Adrian is introduced as such an abhorrent character from the start; he's essentially a comic book villain, void of nuance or subtlety. Domestic abusers aren't monotone evil-doers, otherwise everyone would see through then. Oftentimes, they're very charming on the surface, and any film claiming to be a serious examination of this topic would make room to address this.

Although _The Invisible Man_ was very well reviewed and a huge box-office hit, it left me disappointed and frustrated. Initially positioning itself as an insightful allegory for the difficulty victims of domestic abuse have in moving on with their lives even after the abuser is gone, it eventually privileges genre beats and cheap thrills over emotional complexity. Which is a huge shame and a massively missed opportunity.
It seems that you can teach an old dog new tricks, at least when it comes to classic Universal monster movies. Writer / director Leigh Whannell‘s suspenseful reboot and reimagining of “The Invisible Man” is smart, well-acted, and full of thrills. It’s a surprisingly fresh take on dated source material.

Cecilia (Elisabeth Moss) is trapped in a violent, controlling relationship with her wealthy scientist husband Adrian (Oliver Jackson-Cohen). After drugging him one night, the terrified woman escapes and disappears, hiding at a policeman friend’s (Aldis Hodge) house. Overcome with loneliness, Adrian commits suicide — but Cecilia suspects his death is a hoax. After a series of creepy coincidences that eventually turn lethal, Cecilia’s sanity begins to unravel as she tries desperately to prove she’s being haunted and hunted by an invisible force that happens to be her departed ex.

By telling the story from the woman’s point of view, Whannell has given the film a contemporary feminist spin that makes it all the more haunting and effective. It’s scary because the details of mental abuse by a partner feels so real, as the manipulation and controlling behavior feeds Cecilia’s paranoia. It’s one of the more chilling horror films (or rather, monster movies) that’s come along in quite a while.

Moss makes her performance look effortless as she wrestles with an empty corner of a room or throws punches into the air. Casting a talented actor in the lead role makes all the difference and prevents this from becoming just another hokey Blumhouse production.

Although serious themes like domestic abuse and mental illness are tackled in an honest way, “The Invisible Man” is so entertaining because it achieves the right mix of terror and female empowerment.
If you want to watch this, don't. If you want to watch an 'invisible man' movie, watch the original 'The Hollow Man'. I actually had to rewatch 'The Hollow Man' just to wash my eyes after this. The manlet of a woman in this movie that they call an actress is 100 times worse than Rhona Mitha's performance in 'The Hollow Man'.
> **_Review on Horror Focus_**

Director Leigh Whannell had a crisp and clear vision when adapting this classic Universal monster The Invisible Man, into a modern re-telling that taps into the relevantly dark dangers of a domestic relationship, exploring such a theme with the upmost intensity and craft. This is a classic horror tale adapted with a contemporary twist, focusing more on the psychological mayhem we're forced to endure, much like our protagonist Cecilia, who's tormented in chilling manners. Already within 2020 this is the sleeper-hit of the year, one that on paper looks a lot more naff than what we are actually presented with.

Moss is the core of the movie here, playing as the heartbeat of the entire duration. Through Whannell and Moss' talent combined we are forced to endure emotional and brutal intensity, throwing its audiences and main protagonist through nerve-wrecking intensity, tapping into the fear of the unseen that worked so well with the likes of It Follows.

Moss' performance as Cecilia is superb, as her portrayal of unhinged woman broken from domestic abuse is both unsettling and devastating, already leading to one of strongest female lead performances of the year so far. Whilst the portrayal of constant angst is unforgettable, it's her balanced likability that keeps Cecilia so fascinating, without the character ever compromising her morals or intelligence. A character like this is refreshing to see, especially when they ultimately get their moment to redeems themselves, which she absolutely does.

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The most successful element of The Invisible Man is undoubtately the chilling, ice-cold intensity, delivering an unshakable tautness that will have your cage rattles until the closing credits. Whannell's lever use of cinematography with large concrete open spaces and a washed-out colour palette enhances the presence of the Invisible Man himself, allowing paranoia and angst to trickle through bit by bit until it reaches an un-palpable level of tension. Even though we can't see him, his presence is truly unsettling, and once we do, like a bucket of paint to the face, we are then treated to more than a few effective jump scares. Less is more, and The Invisible Man surely capitalises on this, rinsing its novelty for everything its got, for maximum fear factor.

Behind this creepy facade is an intelligent thriller, that after the half-way mark begins to toy with the narratives origins, often hoodwinking the audience until credits role. There is flare to Whannell's direction here, as some of the themes being juggled around here could very easily have resulted in a cheesy and half-baked result, which to my surprise wasn't the case. In fact, the entire film and premise could have so easily been a disaster, and on paper shouldn't really hold up. To my surprise and probably yours, it's way more effective and haunting than I ever would have given it credit for.

With a runtime of nearly two hours, it's surprising how The Invisible Man never feels like it's dragging, nor does it ever let up on the tension. In fact, the movie progressively get more and more unhinged and intense as the movie goes on, and only until the very end do we ever get a second to settle or breathe.

This is what great horror movie experiences are about, and like every great horror experience it is easy to forgive and forget its mishaps. Moss' depiction of Cecilia is fantastic, there is no denying that, however it's perhaps the character itself who could have benefited slightly from more depth. More details on exactly what she would have endured or more clarity in her mental decay could have packed a stronger emotional punch overall. In saying this, when we witness her ultimate and long overdue redemption, it is superbly satisfying. Ask the girls who cheered in the audience, they'll agree with me.


VERDICT
Welcome to the horror sleeper-hit of 2020. The Invisible Man delivers unpalatable tension like no other, also boasting a stellar cast with slick delivery. Universal Monsters have never looked so good.
This is a film that tries to be smart and clearly isn't. It has more holes than a colander containing Swiss cheese being held by Christ. This film thinks it's so edgy when it couldn't be further from it. It's a low budget, badly acted, dire attempt to contemporise a classic story. Do yourself a favour and don't bother.
Well made horror-thriller that takes the classic version updated for today with not only the effects but violence, which was very effective. A little predictable in some respects but ultimately entertaining and features a good performance by Elisabeth Moss. Going the more lower budget with Universal's "monster" remakes the best route, hopefully they learned their lesson from blunders of The Mummy. **3.75/5**
My ten word review:

_Unoriginal. Nothing here you haven't seen a hundred times before._

Click here for a video version: https://youtu.be/rCeL3WAvuCs
Nice suspense thriller.
Great watch, will watch again, and do recommend.

This really is a "what if" they extended the scenes from "Hollow Man" where Kevin Bacon gets into the public and starts messing with people.

I am starting to worry about Elisabeth Moss though, she seems to be type-casting into all these heavy handed dramatic roles, or maybe that's just how she acts. She's certainly good enough to pull it off, so it's not a downside of the movie, it's just part of a note that this movie is very much a slow-burn suspense. On the premise alone, the first 2 acts are going to be that way as it is established that she is / isn't crazy and there is an invisible man stalking and sabotaging her.

My biggest problem with the movie is that there has never been a more plausible and clearly reasoned explanation for the events, to include camera footage and dead bodies, than she has in this story. If someone finalized a version of a wearable inviso-suit, then this is exactly the type of nonsense they're going to get up to, especially if no one knows about it.

It is a little irritating how they handle him once he's been exposed as well. Mostly it's because of the premise that no one believes her, but you'd think people had seen a ghost movie, or would have a clever idea.

If the movie sounds good to you at all, then I really think you'll enjoy it.
An excellent adaption of the Universal classic. Wholly original, modernized, and thrilling, building off writer/director Leigh Whannell's fantastic science fiction debut Upgrade.

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Title : The Shining
The Shining genre : Horror, Thriller
The Shining crew : Michael Lamont, Stanley Kubrick, Stanley Kubrick, Stanley Kubrick, Ray Lovejoy, Winston Ryder, Rodney Glenn, Wendy Carlos, Rachel Elkind, John Alcott
The Shining release date : 2 November 19 0 0
The Shining runtime : 144 Minutes
The Shining Crew : Michael Lamont, Stanley Kubrick, Stanley Kubrick, Stanley Kubrick, Ray Lovejoy, Winston Ryder, Rodney Glenn, Wendy Carlos, Rachel Elkind, John Alcott
The Shining movie cast :
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Jack Torrance accepts a caretaker job at the Overlook Hotel, where he, along with his wife Wendy and their son Danny, must live isolated from the rest of the world for the winter. But they aren't prepared for the madness that lurks within. The Shining 1980 review : A masterpiece. Kubrick chose a perfect cast and uses the timing and music to create a greatly opressing atmosphere.

Nicholson is superb, but Duval and the kid are not less good.
This rum is red, man!

In spite of author Stephen King not being happy with Stanley Kubrick's adaptation of his novel, The Shining (1980) has proved to be a critical and commercial darling.

It may not be in the spirit that King wanted, but it's undeniably a skillful piece of film making, a mixture of beauty and terror, of bravura techniques and simple but effective scares. With quality acting performances to match as well. The story unfolds at a deliberately slow pace, claustrophobia oozes from practically every frame, while the narrative smarts brings to bear the ghosts of the human and supernatural kind, all bone chillingly rendered for great effect by the vast spaces - the cold winter grounds outside - of the Overlook Hotel.

It's not all perfect, the screenplay is very average, which makes Kubrick's work even more impressive, but with that comes the wave of feeling about style over substance. A churlish gripe? Maybe? But with Jack Nicholson on scenery chewing overdrive and Kubrick pulling the strings, The Shining still represents a highlight in horror. A horror movie that all horror fans should see at least once - and in the best format available as well! 8/10
Probably my favorite of the Stephen King adaptations (though not much for many of the others save for a one or two) but not amongst Stanley Kubrick's, watched this one for the first time in many years (maybe a decade) and while I did immensely enjoyed it, and really liked Nicholson towards the end, I never really bought into him early on. Still, atmospherically it was amazing and at times creepy. But can't place this as some sort of classic in my book, anyway. **4.0/5**
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With Doctor Sleep, an almost 40-year sequel to The Shining, being released this week, now it’s the perfect time to revisit one of the greatest horror movies of all-time, as well as one of the most influential directors ever, Stanley Kubrick. I know, I know… Spoiler-free? For a movie released in 1980? Well, first of all, there’s always someone who still didn’t watch it. Secondly, as deeper we get into the 21st century, the more the 60s/70s/80s/90s movies are forgotten. And finally, if there’s a movie which I don’t need spoilers to explain how outstanding it is, it’s The Shining. With that said …

It has always been one of my favorite horror films ever. It’s not perfect (no film is) and some aspects don’t work as well now as they did 5/10/20 years ago. When it came out, Kubrick’s adaptation of Stephen King’s novel was received with mixed reactions. King himself criticized the movie. However, less than 10 years later, Kubrick’s film was already being reevaluated. Nowadays, it’s considered a cult classic, and it’s easy to understand why. From the countless homages to the hundreds of comedic parodies, The Shining has some of the most memorable lines ever. Just this year, we had It: Chapter Two mimicking Jack Nicholson’s “Here’s Johnny!” scene, for example. And then there’s the mysterious “redrum”…

However, the movie’s biggest influence is its technical achievements. I apologize in advance if this review becomes too technical, but it’s impossible not to address the arguably best component of the film. This movie was one of the first to use Steadicam (a camera stabilizer mount which allows for smooth shots, even on irregular surfaces, isolating the operator’s movement), something that became so common that people don’t even praise anymore. Honestly, there are still a bunch of recent movies that have terrible camera work, so I’m one of those who defend that the Steadicam use shouldn’t be taken for granted. Especially how Kubrick did, barely above the floor, which originated the extension “low-mode” that now exists and allows for the operator to easily shoot lower than its waist.

With the innovative use of the technical equipment, Kubrick’s delivers a masterclass in framing (composing the visual content of a series of frames as seen from a point of view). So much that it became worthy of studying. Almost every shot in this movie has a visual clue or an underlying theme. If you ever feel bored during your viewing, then you’re (probably) not “watching it right”. You’re not truly thinking about it or looking around the characters. This isn’t a generic horror flick with monsters or demons jump scaring you. It’s heavy on visual storytelling, so if you don’t pay attention, you’re going to reach the film’s climactic and enigmatic ending and feel that you missed something.

From the mise-en-scene (arrangement of everything that appears in the framing, hence this French term that means “placing on stage“) having several blood-red colors to the wide shots clearly showing “exit” signs and giving the maze-vibe of the enormous hotel, the imminent danger is visually spread out across the movie. The symmetry/mirroring is absolutely crucial to not only deliver key plot points but to create this sense of reality vs fantasy. From the hotel’s structure and decoration (everything is incredibly symmetric) to the growing use of mirrors (these are heavily used to either literally translate words or to show the descent into madness), Kubrick’s framing is what leaves viewers scratching their heads, still to this date.

You’ll always find something new on another viewing. It might be from 1980, but it’s a movie that requires your full attention. Don’t underestimate films from the 20th century like you can’t be surprised by a film “that old” (you’ll be dumbfounded by dozens). If John Alcott’s cinematography is impressive, then what can I write about Wendy Carlos and Rachel Elkind’s haunting score? Nowadays, scores are more based on creating an emotional impact on specific moments. However, throughout the film and during dialogues, even epic films still have a subtlest approach to these scenes, and the music is either very quiet or completely inexistent.

In The Shining, the score is part of the conversation. If a character feels fear or danger is imminent, a simple heartbeat can elevate such a moment. If two characters gradually turn their dialogue into something more violent and aggressive, the music makes sure to accompany that descent into craziness. It’s a perfect horror film’s score. Technically, I’ll stop there because no words will be able to express how mind-blowing Kubrick’s visionary methods are. He’s one of the greatest directors ever, maybe even the most influential. Hopefully, his work will always be remembered and never stop being relevant.

Story-wise, The Shining also inspired a whole new generation. Everyone knows and loves the key moments of the film, but it’s the clever exposition that satisfies me. Every piece of information is given through either an incredibly captivating dialogue or visual clues/actions. I watched the 144min version of the film (the European version has 25min less than the American version, and the latter has a final scene at a hospital edited out by Kubrick himself), and pretty much every single scene is intended to mean something. It can be important new information or an update on a previous plot point, but every single sequence has a particular purpose.

Jack Nicholson commands the screen with a phenomenal performance, one of his career’s best. His script might be very well-written, but his delivery and commitment to the role are astonishing. He carries one-take, extense dialogues seamlessly. Credit to Kubrick for making a movie with at least 2/3-minute takes, sure, but Nicholson is able to transform a good scene into a fantastic one. Danny Lloyd delivers one of my favorite young performances ever. His voice as Tony is a great accomplishment, and he seems to understand his surroundings, in a way that I never felt like I needed to “go easy” on him because he’s just impeccable.

Shelley Duvall, however, is a mixed bag for me. Over-the-top displays were better received at the time, but almost 40 years later, her performance does reach an unbearable level a few times. She’s an amazing counterpart for Nicholson and she stands her own within their dialogues, but when she’s alone or in an emotionally troubled moment, she’s too much to handle. Scatman Crothers doesn’t have that much screentime as Dick Halloran, but he shines every time he has to deliver a line. Some people complain about the slow pacing, but I love how it helps elevate the suspense and building up moments of immense tension. While the ending might be just a tad abrupt, the final image of the film stays with us forever, and after all this time, I still didn’t settle on my own theory.

All in all, The Shining might be one of the most accessible classics to new viewers of today to understand why it is, in fact, one of the greatest and most influential horror films of all-time. Stanley Kubrick’s masterclass in framing with his play on symmetry and mirrors is evident, so even if you don’t study the art of filmmaking, it’s clear that these two themes are vital to telling the story. In addition to his framing, his use of the innovative Steadicam and his notable mise-en-scene shaped an entire new generation that never misses a chance of paying homage to his work. Besides the impressive technical achievements, Jack Nicholson delivers a memorably haunting performance. The ending is still mind-blowing after all these years, and new theories keep coming up. While I’ll keep trying to settle on my own interpretation, don’t you dare spend the rest of your life without (re)watching this cult classic.

Rating: A+
"Darling, I'm not gonna hurt you. I'm just gonna bash your brains in."

The Shining is a great example of how musical score and cinematography can elevate a movie to the best-of-the-best.

I tend to agree with Stephen King that Jack Nicholson looked like a crazy loon from the beginning, making his decent into madness less dramatic.

But that can be forgiven by all the iconic scenes masterfully weaved into a horror classic.
"Darling, I'm not gonna hurt you. I'm just gonna bash your brains in."

The Shining is a great example of how musical score and cinematography can elevate a movie to the best-of-the-best.

I tend to agree with Stephen King that Jack Nicholson looked like a crazy loon from the beginning, making his decent into madness less dramatic.

But that can be forgiven by all the iconic scenes masterfully weaved into a horror classic.

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