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Title : Body Double
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Body Double crew : Gerald B. Greenberg, Brian De Palma, Brian De Palma, Brian De Palma, Stephen H. Burum, Bill Pankow, Janet Hirshenson, Jane Jenkins, Elisabeth Leustig, Ida Random
Body Double release date : 26 August 19 4 3
Body Double runtime : 114 Minutes
Body Double Crew : Gerald B. Greenberg, Brian De Palma, Brian De Palma, Brian De Palma, Stephen H. Burum, Bill Pankow, Janet Hirshenson, Jane Jenkins, Elisabeth Leustig, Ida Random
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After losing an acting role and his girlfriend, Jake Scully finally catches a break: he gets offered a gig house-sitting in the Hollywood Hills. While peering through the beautiful home's telescope one night, he spies a gorgeous blonde dancing in her window. But when he witnesses the girl's murder, it leads Scully through the netherworld of the adult entertainment industry on a search for answers -- with porn actress Holly Body as his guide. Body Double 1984 review : De Palma Double Bubble, Toil and Trouble.

Body Double is directed by Brian De Palma, he also co-writes the screenplay with Robert J. Avrech. It stars Craig Wasson, Melanie Griffith, Gregg Henry, Deborah Shelton, Guy Boyd and Dennis Franz. Music is by Pino Donaggio and cinematography by Stephen H. Burum.

Brian De Palma continued his crusade to push buttons of the sensitive whilst homaging his hero Alfred Hitchcock, with this cheeky, garish, sleazy thriller. Even when moving away from Hitch like movies, he created a storm with Scarface (1983), so the critics of 1984 wondered if a return to suspense thriller territory would put the director back on an even cinematic keel? Not a bit of it! The reaction to Body Double was ridiculously over the top, apparently a misogynistic homage to the porn industry, with exploitation gore thrown in for good (bad) measure, Body Double was the devil's spawn in the eyes of critics. The public? Not so much, film was a sure fire hit at the box office.

Of course today it seems all very tame, where not even a simulated drilling killing can raise the temperature of the audience, or that frank sexual language and bare bodies no longer makes cinema goers blush. On reflection now it's easy to view De Palma's movie as a visionary piece of work, a film gently poking the ribs of Hollywood and the MPAA, and as was always the case with his 70s and 80s work, he was a director who easily elicited a response from his audience. And with his box of cinematic tricks still impressive before he became over reliant on them, Body Double is a fascinatingly lurid viewing experience.

That it's Vertigo and Rear Window spliced together is a given, but that doesn't make it a bad film, besides which it bears the De Palma stamp as well, undeniably so. Plot finds Jake Scully (Wasson), a struggling actor with claustrophobia, thrust into a world of murder, obsession, deceit and paranoia, for when he house sits for a newly acquired friend, he spies a sexy lady through the telescope apparently being stalked by an odd looking Native American. To reveal more would spoil the fun of anyone watching for the first time, but suffice to say that Jake has entered the realm where neo-noir protagonists wander around wondering how and why they are in this mess.

It's pulpy and pappy, but in the best ways possible, and unlike many other films made by directors who ventured into similar territory, it's never boring (hello Sliver). Cast are appropriately cartoonish or animated, the twists fun if not hard to see coming, and with De Palma's visual panache cosying up nicely with Donaggio's musical score, Body Double is fine entertainment brought to us by a director with a glint in his eye. 8/10
Body Double infiltrates the vehemence of adult entertainment through inspired Hitchcockian thrills. De Palma was at the height of his success during the eighties. Implementing his technical flourishes within sub-genres that we’re not necessarily accessible for the average audience member. Erotic thrillers, whilst some may describe as distasteful and misogynistic, accentuated sexualisation to further enhance the lust of man. Body Double is no different. Much like the pornographic industry that is portrayed, it certainly has a sub-par screenplay that persuades you to fast-forward to the “act” in question, yet manages to lure you into the sleazy allurement of De Palma’s technically adept direction.

After waltzing in on his partner cheating on him, a novice actor is recruited by a friend to house-sit a luxury abode, conveniently positioned adjacently to another property hosting a sumptuous succubus of temptation. Naturally, downbeat and fuelled by anger, he resorts to peeping and spying as she provocatively dances in front of the window before proceeding to creepily follow her the next day.

As the main man himself stated, this is inspired by Hitchcock’s two greatest thrillers: ‘Rear Window’ and ‘Vertigo’. The added eroticism granting De Palma’s feature a differing (if unpleasantly salty...) flavour that uniquely defines its narrative qualities. Initially, the first act kicked off with a mundane imitation of Hitchcock’s aforementioned ‘Rear Window’, opening itself up to comparative criticisms. The introductory setup, outlining Wasson’s Jake Scully as a claustrophobic unconfident mess, sent the plot down a one-way route that, upon first thought, had minimal opportunities for a U-turn. The convenience of the telescope as Scully unashamedly invades the privacy of his new temporary neighbour and his dreadful tailing techniques complementing his mediocre onscreen acting portrayals, sent my own thoughts down the predictable avenue. Was Scully a perverted mess, or was he being set up? I thought I knew. But then De Palma trapped me.

Through ornate neo-noir aesthetics and a vapid insight into the world of adult entertainment, he precariously planted a sufficient amount of false breadcrumbs to force me to second guess myself. And that I did. The mystery slowly unraveling, accompanied by a smooth monosyllabic score and Frankie Goes To Hollywood’s legendary gay anthem “Relax”, unlocking the intentions of all characters involved. Heightening the glossy lifestyle of adult performers, De Palma‘s directorial flair, mostly consisting of extended takes and distant shots, invited audiences into a tainted environment plagued by primitive regression. Tantalising voyeurism and dangerous obsession. Even hints of Argento’s influence of the giallo sub-genre.

Various techniques, especially the continuous panoramic 360 revolving as Wasson and Shelton questionably embraced each other, resembled dated homages that failed to match the noir aesthetics that De Palma meticulously crafted. The conclusive ten minutes unfortunately unwrapped certain revelations in an underwhelming manner, by having the story abruptly cut with no substantial resolution. This left myself viewing the proceeding credits montage with an overbearing feeling of unsatisfactory bewilderment.

Undoubtedly, Body Double is rough around the edges. Occasionally bypassing substantial development for evocative voyeuristic tendencies. But that does not deter from De Palma’s intrinsic cinematic approach, where the night life of Hollywood truly becomes illuminated.

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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

Read Jake's full article...
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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When governments fail to act on behalf of captive missionaries, ex-Green Beret John James Rambo sets aside his peaceful existence along the Salween River in a war-torn region of Thailand to take action. Although he's still haunted by violent memories of his time as a U.S. soldier during the Vietnam War, Rambo can hardly turn his back on the aid workers who so desperately need his help. Rambo 2008 review : Kick-ass action all around and although the story is on the basic side and has minimal character development for Rambo himself, just a bloody, albeit too much of it CGI'd, entertaining especially an action-fest finale. Amazing, especially being the fourth entry into the series.
_**Intense with more depth than you might think**_

John Rambo (Sylvester Stallone) is alone, bitter and living hand-to-mouth in Thailand when a group of Christian missionaries enlist him to take them into Burma (aka Myanmar) to aid a village. Rambo discourages them in light of the political instability, which includes persecutions and mass slayings, but they insist. Weeks later he learns that the missionaries are missing so he goes back with a group of mercenaries.

"Rambo" (2008) is the fourth installment in the franchise after "First Blood" (1982), "Rambo: First Blood Part II" (1985) and "Rambo III" (1988). I'm a huge fan of the first one, which I think is an action/adventure masterpiece, but the next two films are too comic-booky and the characters are cardboard, although Stallone never looked better and the locations are fabulous.

This third sequel makes up for that because it's not comic booky at all and there's quite a bit of depth, albeit not much in dialogue form. It combines elements of "Apocalypse Now," "The Killing Fields" & the first two Rambo films and is grim & intense from beginning to end, not to mention it's one of the most violent films ever made. The picture powerfully illustrates the best and worst in humanity. The Christian missionaries are willing to risk everything to help the villagers, whereas the Myanmar militarists revel in slaughtering scores of unarmed people for "fun"; they're also shown abusing/raping women and boys. Obviously they've given themselves wholly over to the darkside of their natures. Such reprobates are only worthy of one thing: Utter annihilation.

Several important themes are addressed in the picture besides the main one:

* BITTERNESS/DESPAIR AND DELIVERANCE. The beginning of the film shows Rambo in a state of utter bitterness: He's just existing. He has no friends. He doesn't talk much and, when he does, it's few words laced with expletives. The male leader of the missionaries is completely unable to talk him into helping them. Two Biblical proverbs state "a gentle answer turns away wrath" and "a gentle tongue can break a bone." The female missionary (Julie Benz) knows this and skillfully talks John into helping them. Yet there's more going on here. This woman with a heart of gold is Rambo's "golden connection" out of the rut of bitterness. Despite his gruff exterior, she sees something in him, something in his eyes – a good heart, even greatness, a genuine glimmer, however faint. Is Rambo helping the missionaries or is she the one helping him? John instinctively realizes the rope she's throwing him and takes hold of it. There's nothing sensual about their relationship, despite her attractiveness; it's solely spiritual. She stirs in him the hope and faith he's been longing for.

* VIOLENCE IS NOT ALWAYS NECESSARY. Although this is a very violent film it skillfully shows when pacifism _is_ appropriate. Note the incident on Rambo's riverboat when the lead mercenary continually insults John and tries to provoke him into a fight. Rambo just ignores him, not even saying a word. In other words, he refuses to allow someone to victimize him and draw him into a conflict that has no positive purpose. It takes true strength to do this and Rambo has this strength. Indeed, John treats the guy as if he's a bothersome gnat. What do you do when a gnat bothers you? Do you break out a machine gun or merely ignore it? This is the "turn the cheek" principle.

* TOTAL PACIFISM DOES NOT WORK. The New Testament does not support the idea of absolute pacifism, but rather limited pacifism (only resorting to violence when justified). For instance, Christ’s ministry team had a treasury box with loads of money and some of his workers carried swords for protection from thieves & murderers. Also, Romans 13 clearly states that the righteous laws of human governments are God-ordained for the purpose of punishing criminals, including the right to execute when appropriate. The vast majority of sane Christians realize this, but there are a few extremists who refuse to be BALANCED with the Scriptures on this topic and insist that conflict, and especially armed conflict, is never appropriate. The lead male missionary represents such a person, but perhaps he'll learn the error of his ways. The simple fact is: Some people are so degenerate and evil that execution is the only just ultimate reaction (notice I said "ultimate").

* RAMBO’S SPIRITUAL REBIRTH. The first two sequels show Rambo searching for truth and flirting with religion and spirituality. In the second film he gets a Buddhist necklace off the Asian woman he befriends and at the beginning of "Rambo III" he is shown living & working at a Buddhist temple helping the priests; later, he meets and wins the hearts of moderate Islamic villagers and gives his necklace to a Muslim boy who helped him. In this movie the female missionary is key to John's positive transformation; at one point she gently asks him whether or not he has any family in the USA. He mumbles that he might have a father, he wasn't sure, and didn't seem to care. Shortly later she gives him a cross necklace for helping them (he wouldn't take money). Anyway, the end of the film shows Rambo walking to his family ranch in southern Arizona. Obviously John had a positive spiritual metamorphosis in the story that leads to a decade of peace & love before the next film, “Last Blood” (2019).

"Rambo" was written & directed by Stallone and shot in Thailand (and Arizona). It’s short & sweet at 1 hour, 32 minutes.

Grade: A

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Title : Greenland
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Greenland crew : Clay A. Griffith, Mary Vernieu, Deepak Nayar, K.C. Hodenfield, K.C. Hodenfield, Gerard Butler, Carsten H. W. Lorenz, Carsten H. W. Lorenz, Robert Simonds, Basil Iwanyk
Greenland release date : 19 March 19 3 8
Greenland runtime : 120 Minutes
Greenland Crew : Clay A. Griffith, Mary Vernieu, Deepak Nayar, K.C. Hodenfield, K.C. Hodenfield, Gerard Butler, Carsten H. W. Lorenz, Carsten H. W. Lorenz, Robert Simonds, Basil Iwanyk
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John Garrity, his estranged wife and their young son embark on a perilous journey to find sanctuary as a planet-killing comet hurtles toward Earth. Amid terrifying accounts of cities getting levelled, the Garrity's experience the best and worst in humanity. As the countdown to the global apocalypse approaches zero, their incredible trek culminates in a desperate and last-minute flight to a possible safe haven. Greenland 2020 review :

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The Terminator release date : 15 March 19 3 4
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In the post-apocalyptic future, reigning tyrannical supercomputers teleport a cyborg assassin known as the "Terminator" back to 1984 to kill Sarah Connor, whose unborn son is destined to lead insurgents against 21st century mechanical hegemony. Meanwhile, the human-resistance movement dispatches a lone warrior to safeguard Sarah. Can he stop the virtually indestructible killing machine? The Terminator 1984 review : I can't. Nobody goes home. Nobody else comes through. It's just him - and me.

It's funny really, writing a review for The Terminator these days just feels a little pointless, I mean anyone who wanted to see it would have done so already. In truth the effects work is a little creaky now but that doesn't matter, they were awesome in 1984. It's a ripper of a story awash with high energy action, rip-snorting characterisations and tech-noir atmospherics. It's place in the pantheon of science fiction films is assured, its influence on the genre undoubted, while the lead cast members cemented themselves in the sci-fi hall of fame.

No more needs to be said really, The Terminator is a kinetic live action comic book of a movie, classy movie making, paced to precision and featuring a story that's brilliantly complex and utterly compelling. 9/10
Writing a review for a movie this old does indeed seem pointless, but since this is one of my favorite films I thought I would review it anyway.

In my opinion The Terminator is a beautiful, yet tragic love story set in the back drop of the future and the past. A soldier from the future is sent to the 80's to save the leader of the resistance (John Connor) mother from a High Tech Cybernetic Killing Machine. We all know that. What I loved was that this soldier, Kyle Reese volunteers for this suicide mission. He volunteers for one reason because, he had fallen in love with this woman, Sarah Connor. Though they were separated by several decades of time and Judgement Day, her son tells him these tales of his mother Sarah and gives him a single picture of her, purposefully pushing Reese to fall for his mother and this is the reason for him traveling through time to do the nearly impossible. Save and protect Sarah Connor to save the human race in the future and kill a super bad ass T-800 with low tech weaponry and a reluctant Damsel.

Bullets flying and bombs booming make this movie highly entertaining. The storyline, ridiculous as it is, is fantastic and had everyone in the 80's and 90's quoting this SciFi film. It's always a good watch. It holds up nicely overtime.
I know saying this puts me in the minority, but the first _Terminator_ movie is actually my favourite of the franchise. That's not a knock on the second movie, _Judgment Day_ is **awesome**. But I really dig the lower down, dark, sci-fi horror vibe of the original (it **is** a knock on every movie in the series that came after _T2_ though).

Schwarzenegger as the titular Terminator is inspired casting. Firstly, any restrictions he had in acting ability back in the 80s are brushed aside by the fact that he's playing a cold, unfeeling machine. And can you imagine someone who looks like that coming after you? Forget the fact he's got an arsenal in his back pocket, forget the fact that he's got a near unstoppable metal exoskeleton, Arnie is already a machine! Being hunted by that man would be terrifying, and you feel that in the performance of the leads.

_The Terminator_ is one of the best movies I've ever seen, and I have seen - a lot.

_Final rating:★★★★½ - Ridiculously strong appeal. I can’t stop thinking about it._
Good watch, might watch again, and can recommend.

I have no idea what just happened, I just watched the 2020 version, and it doesn't even look better, and there doesn't seem be a lot of info on the situation.

It has decent practical effects, it's a got plenty of action in a machine chasing a woman aided by a soldier from the future.

Arnold carries an odd amount of weight as an emotionless cyborg, but Linda Hamilton shores up the rest. I don't think it is Michael Biehn's fault, but Kyle Reese is kind of a forgettable character in this.

The depth of this action movie is just on the concept of time travel, and whether or not you can truly change the future.

This is a good movie, but it lacks something really special for the time of 2020, it's more important as a precursor to the sequel.

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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
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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.

Image result for the invisible man 2020
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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Unhinged the movie showtimes online stream 2020 Unhinged song, Watch Unhinged full movie online now.A divorced mother honks impatiently at a deranged middle-aged stranger at a red light while running late on her way to work. His road rage escalates to horrifyingly psychotic proportions as he becomes single-mindedly determined to teach her a deadly lesson for provoking him.,what are Unhinged movies in order Unhinged synopsis full movie Unhinged 2020 HD Movies, Full Length Movie
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Title : Unhinged
Unhinged genre : Action, Thriller
Unhinged crew : Michael McCusker, Mary Vernieu, Steven Mirkovich, Sharon Smith Holley, Lisa Ellzey, Denise Wingate, Freddy Waff, Freddy Waff, Brendan Galvin, Carl Ellsworth
Unhinged release date : 12 May 19 4 5
Unhinged runtime : 90 Minutes
Unhinged Crew : Michael McCusker, Mary Vernieu, Steven Mirkovich, Sharon Smith Holley, Lisa Ellzey, Denise Wingate, Freddy Waff, Freddy Waff, Brendan Galvin, Carl Ellsworth
Unhinged cast :
Russell Crowe, Caren Pistorius, Gabriel Bateman, Anne Leighton, Jimmi Simpson, Austin P. McKenzie, Michael Papajohn, Sylvia Grace Crim, Lucy Faust, Stephen Louis Grush
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A divorced mother honks impatiently at a deranged middle-aged stranger at a red light while running late on her way to work. His road rage escalates to horrifyingly psychotic proportions as he becomes single-mindedly determined to teach her a deadly lesson for provoking him. Unhinged 2020 review : Russell Crowe stars in the new Thriller “Unhinged” and gives an intense performance which has become a staple of his career. Playing a man who has lost it after the loss of his job and marriage, The Man kills his ex and her partner before burning down their home and vanishing into the night.

Rachel (Caren Pistorius) is a woman who is seeing her world slowly crumble around her. She is in the midst of a contentious divorce, has just lost her best client, and is struggling to take care of her son while dealing with her brother in financing moving in with her so she can afford to pay for a needed care home for a family member.

As one thing after another mounts for Rachel and dealing with heavy traffic as she tries to get her son to school to avoid a detention for being tardy; she honks and makes and aggressive turn in front of the Man. He takes offense to this and drives alongside Rachel and demands a since apology for her actions. Rachel has long since lost any sense of caring and does not provide a sufficient response which further triggers the Man.

As some very aggressive road rage follows; Rachel believes she has put it behind her and drops her son off at his school. While filling up her gas tank Rachel sees that the Man is following her and when her efforts to diffuse the situation further trigger the Man she sees just how dangerous and highly unstable individual he is.

What follows is a deadly game of cat and mouse as the Man taunts Rachel while exacting his revenge on those in her life all the while preparing for his next encounter with her.

Crowe is fantastic and gives a very intense performance without ever going too far over the top and becoming campy with his performance which is often the case in films of this type. He is a compelling adversary who commands the attention of the viewer and one can see that he is an individual who has simply snapped from the pressures and reality of life and believes his actions are justified.

While I was able to predict one of the big moments near the end of the film; it was delivered In a slightly different way which was refreshing. The film was intense and compelling and Director Derrick Borte keeps things from become too over the top especially in the last part of the film where Hollywood standards for the genre did tend to come in the play.

The film wisely relies on the strength of Crowe and the supporting performances and provides a welcome return to cinematic features for viewers as long as they are willing to overlook some minor things and focus on the intense story and compelling performances.

4 stars out of 5
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Russell Crowe dials up his inner Rutger Hauer ("The Hitcher) and Michael Douglas ("Falling Down") to reap terror on a boy and his mom who don't give him a courtesy honk. Skip this "meh" road rage thriller and check out the aforementioned titles instead.
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Boasting a ferociously captivating Russell Crowe as an absolutely lunatic driver, Derrick Borte delivers a purposefully exaggerated premise based on something that occurs every day to pretty much everyone. The rated-R action is surprising in its amount of gore and unrestraint in murdering every character in the most shocking yet incredibly entertaining fashion.

However, Carl Ellsworth's screenplay lacks character depth, leaving the viewer with barely any knowledge of anything remotely relevant about the protagonists besides basic relationships, which are merely used as plot devices to more bloody killing. The narrative goes through hard-to-believe developments, and the ending still possesses the cliche "dumb protagonist's decision that no sane person would ever think about".

Still, I defend that its main narrative is closer to reality than fiction, especially the first two acts. In the end, my main issue might actually be that Caren Pistorius' character was indeed guilty of the event that propelled everything. She demonstrated arrogance, selfishness, and the inability to simply apologize to someone who was initially polite. That, to me, it's her biggest sin and the reason why I couldn't care less about what happened to her or her family.

Rating: B-

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