This topic has been discussed millions of times, and probably despite future decisions, it will continue to be discussed nonetheless. Is it really necessary to keep benefiting from the same stories that have been told countless times? Disney does it constantly nowadays, Brian De Palma did it, John Carpenter as well, along some of the greatest figures in the history too, so where does the freshness and genius of an already known story lie, that some deem themselves brave enough to reprise it? Quentin Tarantino said it, and he is the best thief that the Seventh Art could have:
“I steal from every single movie ever made.”
But, dear Quentin, this is how many masterminds of this beautiful dynamic pictorial art know how create something personal and with its own identity out of something else. The intention of this article is not to analyze the projects of this living legend, but that of a figure that has been growing over the years, especially in the territory of fantasy/sci-fi/horror films: Leigh Whannell. He’s best known for being one of the two protagonists who were locked up with “Jigsaw” himself in the first chapter of the (already) long-lived saga created by James Wan. The 47-year-old celebrity took a bold step by directing the third installment within the irregular Insidious saga (also created by Wan). What he didn’t know was that, while his first steps within the world of filmmaking were not so memorable, five years later he would gain some recognition.…
Upgrade (2018) is one of the most acclaimed original action and science fiction films of the recent years. A story of revenge that brilliantly mixes a minimalist and retrofuturistic scene with flashes of the best cyberpunk style, pretty imaginative action scenes that have nothing to envy those of the John Wick saga, and more than refreshing moral approaches. With this creative drive, and after the failed start of the Dark Universe with the premiere of The Mummy, starring Tom Cruise―much like it happened with Snyder's DCEU―, the production company Blumhouse bet on Whannell to give life to what would be a new vision for the world-renowned story of The Invisible Man.
What was originally intended to be the second entry in this universe featuring the iconic Johnny Depp as the antagonist, became a new opportunity to prove that something different could be created, something new and anything but redundant. That's when they called this Australian director to work for the company created by Jason Blum, and without any prior information, they asked him to direct the film.
The result? A powerful horror story that focuses primarily on a female victim of domestic violence, who is masterfully played by Elizabeth Moss, and provides a fierce social critique of gender roles that never feels forced. The metaphor in The Invisible Man alludes to how clueless we can be, even when the most evident signs of male violence stand clearly in front of us―no pun intended. Terror resides in what cannot be seen but still lurks in the shadows… In that sense, Whannell handles suspense like no one else.
Unfortunately, the film premiered at the worst possible moment. At the end of February 2020, the idea of COVID-19 was just a possibility in Latin America; in some places, it was already a reality, and in others, it was coming like Winter in Game of Thrones. Still, against all odds, it was a success, thanks to a global box office income of $144 million, the revenues highly surpassed the humble $7 million budget. Names like Armie Hammer and Alexander Skarsgård were dropped. But it was Oliver Jackson-Cohen, who had just gained major recognition from the TV show The Haunting of Hill House, who got the lead, portraying an abusive and terrifying invisible man who relentlessly stalks his wife as she thinks he’s dead. The movie has a huge twist at the end that I dare say not a single soul saw coming. Whannell’s name is now etched in my memory.
With two Frankenstein adaptations coming next year—one from the legendary Guillermo Del Toro and the other from actress-turned-director Maggie Gyllenhaal (known for The Bride)— it’s hard to imagine there will be a crossover or anything of the sorts. However, I don’t see the need for one, do you? Do we really think that everything should culminate in an epic final battle against some character pulled out of the blue at the last minute? Or is it better to appreciate the individual qualities of each work and be satisfied with that? In this regard, I lean toward the latter!
Wolfman’s premier is right around the corner! Judging by the terrifying trailer I saw a couple of weeks ago that seems to have all the characteristic elements of the director—camera movements, rawness, and simple staging—, he’ll finally get the recognition he deserves as one of the great masters of fantasy cinema of our time.
BY JERÓNIMO CASCO
Posted on OCTOBER 1, 2024, 13:23 PM | UTC-GMT -3
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