The Invisible Man Movie Ending Explained (In Detail)

Spoilers Alert:

Based on the 1897 novel of the same name by HG Wells The Invisible Man about an extraordinary threat. But director Leigh Whannell invents a new, smart twist for his remake. We reveal more about this in our review.

Nobody believes Cecilia…

The plot summary

Cecilia Kass (Elisabeth Moss) feels trapped in a violent relationship with a wealthy and brilliant scientist. To hide from her controlling partner, she flees in the middle of the night with the help of her sister (Harriet Dyer), her childhood friend James (Aldis Hodge) and his teenage daughter Sydney (Storm Reid). When her violent ex Adrian (Oliver Jackson-Cohen) commits suicide and leaves her a significant portion of his vast fortune, Cecilia fears he may have staged his death. In fact, a series of eerie coincidences with fatal consequences begins, the targets of which are the people they love most. Cecilia now desperately tries to prove that she is being hunted by something that no one can see. A fight that increasingly drives her to the brink of madness.

The Invisible Man Movie Meaning of ending

Today’s horror films are no longer just about making their viewers shudder for a few hours. At least since “The Babadook” from 2014, the horror dramas from a generation of young horror filmmakers have been dealing with topics such as toxic love relationships ( “Midsommar” ), racism ( “Get Out” ) or the political upheaval in post-war Germany ( “Suspiria” ) under the guise of classic genre fare. ). Leigh Whannell’s free reinterpretation of the British horror classic by HG Wells is now also included here. His drama, which has a few classic horror elements, is primarily about how a woman tries to get rid of her stalker. And ultimately it’s only secondary that her brutal ex-boyfriend can make himself invisible using a futuristic suit. Leigh Whannell (“Upgrade”), who also acts as screenwriter, concentrates the entire first half on the unstable psyche of his protagonist, who is completely disturbed by the terror of her supposedly deceased partner and who for a long time simply considers those around her to be hysterical. This is where the true horror lies: An abused person must first convince those around her that she is a victim so that they can believe her and later protect her. Elisabeth Moss (“We”) in the role of Cecilia Kass is the exact opposite of the heroic “Final Girl”.

Cecilia (Elisabeth Moss) fights against an invisible danger.

Universal Pictures originally gave the starting signal for the so-called “Monster Universe” in 2014. At that time, it was hoped that the “Dracula” reinterpretation “Dracula Untold” would ensure that the ongoing hype about film universes would bring long-term money into the studio coffers, including in the horror sector. But neither “Dracula Untold” (despite a promising cliffhanger) nor the second attempt “The Mummy” with Tom Cruise fueled interest among viewers. Considering “The Invisible Man,” that’s a good thing. Because even if the term “Monster Universe” was mentioned again and again around the premieres and Blumhouse CEO Jason Blum was not averse to embedding the film in an extensive franchise, the film stands much better on its own; Not as a sensational new interpretation of the material, which has now been adapted for the screen five times (most recently in 2000 as “Hollow Man” with Kevin Bacon), but as a contemporary drama. This could irritate some people who have lost their way to the cinema at first glance. Especially because the Blumhouse Studio is a company behind the film adaptation that, with a few exceptions (“Get Out” is one of them), is primarily known for standardized horror fare. And “The Invisible Man” certainly doesn’t rise to the dramatic level of a “Hereditary” and can’t keep up with complexly told shockers like “Suspiria”. But the consistency with which Leigh Whannell wraps his abuse subtext in a sci-fi horror guise is truly impressive.

It starts with the way Whannell stirs up tension in the first ten minutes using classic horror mechanisms, but in reality he doesn’t tell about anything supernatural or otherwise conventionally gruesome, but simply with the help of his main character’s fear of her boyfriend. Cecilia wakes up in a huge, light-filled property on the beach. She knocked out her boyfriend, who was in bed with her, with the help of sedatives. After sophisticated precautions, she packs her things, looks after the dog, switches off all security measures in the house and constantly keeps an eye on the sleeping person using a camera. The tension in these minutes is almost unbearable. And this scene structure alone is enough to get an idea of ​​the torment the young woman obviously had to endure in the relationship, if it requires such a well thought-out plan, carried out in a cloak-and-dagger operation, at the end of which Cecilia doesn’t even have a key to get out of the house, but instead has to climb a steep wall to finally be free. The disturbance built up in this scene is brought to the extreme when we finally see the man for a few seconds; and he tries with all his might (in the truest sense of the word!) to bring “his” wife back to him. Nothing about this circumstance has anything to do with paranormality or the supernatural, let alone with the invisibility phenomenon that will later become the focus of attention. And yet Whannell creates an oppressive shock scenario whose emotional impact doesn’t fade in the first half hour. On the one hand, because the trauma left behind by the relationship is written all over Elisabeth Moss’s face right up to the end. On the other hand, because those around you keep digging up this. Because no matter how compassionate and self-sacrificing Cecilia’s friend James may initially react, he shows little understanding when her fears do not subside over time. And that’s not even talking about invisibility and stuff like that…

With this, Whannell ultimately only exaggerates the actual topic, while the mental state of his protagonist always remains the focus. He doesn’t even use a lot of jump scares (we counted three in total in the 100 minutes) to create any kind of shock effect from the already invisible threat. Instead, he makes a virtue out of necessity (it’s hard to use something you can’t see to make it jump out at the viewer’s face): the simple but effectively tricked moments in which the camera (Stefan Duscio) simply films that only film a certain setting for a very long time often only develop their tension from minimal changes; For example, if the stove is suddenly turned up without any visible action. Ironically, the makers create even more tension when nothing happens at all, but thanks to the targeted camera work, mostly from Cecilia’s perspective, you know that something is in the room must, what you just don’t see. And even though, especially in the first half of the film, you can’t tell at all whether Cecilia might be imagining it all – her skeptical environment does a great job in convincing her that she’s crazy – these scenes work better than any shocking moment, no matter how routine . “The Invisible Man” breaks away from this staging calm in the finale. That’s a bit of a shame, even if Stefan Duscio can once again use the same camera gadgets here as in his action gem “Upgrade”. Again and again the camera literally sticks to the person it has just captured, creating some great perspectives; For example, when victims fall crashing to the ground after a shootout. In general, the scenes in which visible people fight against invisible people are choreographed quite impressively and make up for the fact that Whannell perhaps just wanted to have a bit too much action at the end before coming up with a twist in the finale that gives the film an optional happy ending , or just ends extremely badly.

Conclusion: In the end, “The Invisible Man” runs out of steam a little. Before that, however, Leigh Whannell creates a very smart, atmospherically staged drama about domestic violence and abuse that doesn’t actually need the well-tricked invisibility superstructure to be damn scary.

“The Invisible Man” can be seen in USA cinemas from February 27th.

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