Movies You've Seen Recently | February 2020


Oct 25, 2017
Invisible Man was so good. I had rewatched Hollow Man the day before and this was the perfect palette cleanser. Not just is Whannell's film the thematic antithesis of Hollow Man, there are more than a few scenes with similar concepts, so the differences in execution were fascinating.

The Invisible Man (2020)
Since 1897, from Gothic supervillain to gross sexual predator, the sociopathy of the Invisible Man has always been tempered by madness. The corrupting freedom of lurking unseen drives its translucent terrors insane, but that outcome is only a comforting fantasy. Whannell's reinvented Invisible Man grounds Universal’s classic monster in raw emotion and calculated cruelty. In this sci-fi horror-thriller, madness threatens the victim, rather than motivating the villain.

Empty spaces have rarely felt as terrifying and unnerving as in 2020’s Invisible Man. Lingering camerawork and subtly unsettling framing allow negative space to imply presence, as we tensely scan the screen for signs of a menace that is most definitely standing right there. The film knows that we know its game; instead of using invisibility as an effects showcase, a minimalist approach propels the plot through patient suspense and sinister unease. An open door here, a footprint there, escalating towards inevitable confrontation. However, when the bloodshed arrives, Whannell proves that his cyberpunk actioner wasn’t a fluke; legitimately shocking violence, cloaked brutality, and a stylish hospital rampage means Invisible Man delivers some very satisfying thrills.

The twisted tech genius Griffin of this film is only visibly onscreen for a scant few minutes, mostly existing as a silent stalking entity. But by the end, we know his character well. That’s all a testament to Elizabeth Moss’ powerhouse performance and Invisible Man’s emotional upgrade over Upgrade. That previous movie felt stilted at times, but the characters in Invisible Man are very human and relatable. We never see the domestic abuse suffered by Cecilia, but her pained accounts, weary countenance, lasting trauma and fears ensure that her suffering is deeply felt. Griffin may be invisible but we see his evil through her psychological scars and desperation. Similarly, her friends and family having such genuine humanity allows the gaslighting manipulations to really sting when the consequences come to a head. An invisible stalker is scary, but having your life methodically obliterated while no one believes you is scarier.

I don’t think it’s hyperbole to say Whannell’s film is the best example of a classic horror reimagining since The Thing and The Fly. Almost a century after Claude Rains threatened the moon, The Invisible Man brilliantly reinvents the concept with a film that could only exist today with its perspective, themes, and sleek style.


Oct 25, 2017
Wait, is Invisible Man officially part of the Dark Universe, or is it a standalone?

Pokemon: Mewtwo Strikes Back - Evolution: Doesn't feature "Brother, My Brother". Also doesn't feature Mewtwo vs. Alakazam, my favorite Pokemon at the time. 0/5

It's been a long time since I've seen The First Movie, so I thought I'd check out the 3D remake. I can't complain about the dubbing (though only Eric Stuart can do Brock and James justice). The natural environments look great...but that makes the anime characters clash against it. There have been some changes. Pikachu one-shots a Drowzee instead of a Golem. Team Rocket are sailors on a Lapras boat instead of Vikings. There are some dialogue changes too. Team Rocket no longer confuses a Scyther for an Alakazam. However, two of the most famous quotes "We dreamed of creating the world's strongest Pokemon...and we succeeded" and "Pokemon weren't meant to fight..not like this." are altered. Characters repeat what the previous character just said. The biggest advantage of CGI however is that the battles have better cinematography. I especially like the Charizard vs. clone fight. Also interesting is that while it still only uses Gen I & II Pokemon, it does use the Gen IV moves Energy Ball and Leaf Storm in the Venusaur vs. clone fight.

For the movie itself, it's just cool to feature Mewtwo, the most powerful Pokemon in a world where Arceus and the Dark type don't exist. There are still cool battles. Team Rocket doesn't do anything useful except get Ash & Co to the island. It's fun, but I can't call it a great movie.


Oct 27, 2017
Get Carter
I must admit, I really had no idea what was going on for like the 3/4ths of the movie and needed to consult Wiki to make sure I was understanding it (I wasn't). Sort of a British Chinatown, and grimy as hell. Caine is an enjoyable anti-hero to watch, especially on his revenge murder spree at the end which is superficially entertaining, and I like that the film never lets you forget that at the end of the day he's still actually a shitty person person. This made for an unexpected double feature with the next one my list here.


I was a fan of Paul Schrader's directorial debut Blue Collar, and I think this might even be better. George C. Scott is just awesome in it; he perfectly walks this line of the typical stuck-up Midwestern conservative Christian who is just allergic to anything sex or porn related, to someone who you feel becomes increasingly empathetic for people like Niki, to just a burst of animal rage that can fly off the handle at any moment. Schrader does a great job of bringing you closer to the guy and then pushing you away so you never feels completely repellent nor likable. It's a complex portrait that both Scott and Schrader nail so well. And while it may not stack up to Taxi Driver or First Reformed's level, it's a similarly compelling 'spirit and the flesh'-esque story of a man of faith and certain convictions of the world crashing up against a seemingly amoral (or immoral) side of society. Just two films in as a director and Schrader's sense of atmosphere is already so on point.

Ready or Not

Sort of a You're Next meets Get Out mash up, though not as good as either one of those. It's caught in this weird space of where it's both too cheesy but also not cheesy enough, if that makes any sense. A solid genre film to spend 90 minutes at midnight watching, though. I was constantly distracted by how identical Samara Weaving looks to Margot Robbie. For a story that's all about pitting the newest member of the family against her in-laws, it was a strange choice to make the butler the main antagonist. I also give this movie an extra point for its ending, which I really enjoyed on two levels.