The Invisible Man (2020)
This latest retelling of the classic HG Wells tale focusses on the terrible experiences of Cecelia (Elisabeth Moss). She escapes the home of her wealthy but abusive partner, and hides out with friends, starting to rebuild her life.
Cecelia then hears that her ex-partner has died, and she has inherited a massive fortune. Yet there are a number of strange occurrences that lead Cecelia to believe that she is, in fact, being stalked by her ex – but no one can see him. As the paranoia mounts, and the odd events become more deadly, can Cecelia convince anyone that she’s not crazy?
This modern day version of The Invisible Man updates the central idea well, and does a good job of creating atmosphere and tension. However, I personally find the concept of an invisible villain fairly ridiculous (despite whatever science can be dreamt up to explain it) – and ultimately disengaging.
A nice try, but vampires and werewolves, please.
The Curse of Frankenstein (1957)
Now this is more like it! Peter Cushing, Christopher Lee, the very first of Hammer’s colour Gothic horror films – it’s an absolute classic!
Mary Shelley’s original story is mutated here somewhat, with Victor Frankenstein’s (Cushing) obsession verging on the nefarious. The central narrative remains the same, with the Baron creating his monster from dead bodies and bringing it back to life.
However, it’s the creator, not the creature’s story here. Lee puts in a good performance as a mute and grim monster, but it’s the Baron’s scheming and grisly work that the film concentrates on.
Directed by Terence Fisher, the film looks beautiful: the sumptuous sets not betraying the shoestring budget. It’s fast and pacey, with dollops of technicolour gore and a wonderful James Bernard score. I love this film, The Curse of Frankenstein is Hammer horror at it’s best.