Contributing Writer; Toronto, Canada (@triflic)

H.G. Wells' speculative horror novel, The Invisible Man, has been adapted for the big screen many, many times. From auteur directors James Whale to John Carpenter to Paul Verhoeven, the story and the style of the various retellings has acted as both a vessel for testing out special effects technology, and a mirror for society's moral moment. 

This year, Leigh Whannell (writer and actor of the Saw franchise) brings it into stalker slash sexual predator territory, and (perhaps, I have not seen the film) tells it from our current, #MeToo, moment in time.

Put aside the clumsy tagline. (Oof, it does not roll off the tongue, even the mental tongue.) The red on black makes it relatively easy to ignore. More interesting is the trail of blood in a lit doorway, which culminates in silhouette of a figure holding a butcher's cleaver. This signals that this version is not your grandfathers The Invisible Man, while still playing with shadows, reflections, and footprints; the hallmarks of the visual style of movies on this subject matter.

Below is the IMAX release poster. In generally these have been more experimental and clever when a movie is released in both regular cinemas and large format.  The regular release poster is yet another inferior homage to Akiko Stehrenberger's Funny Games remake design.


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Elizabeth MossFriday One SheetKey ArtLeigh WhannelPosterUniversalUniversal MonsterLeigh WhannellH.G. WellsElisabeth MossAldis HodgeOliver Jackson-CohenStorm ReidHorrorSci-FiThriller

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