Leigh Whannell

  • The Invisible Man (2020)

    The Invisible Man (2020)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2020) While I was on-board for the idea of a “Dark Universe” reimagining the classic Universal Monsters for modern audiences, the evidence so far is clear: the movies that attempted to play in the shared universe were not good, and the ones that didn’t were better. The most recent proof of this can be found in The Invisible Man, a clever rethinking of the classic premise in a modern and surprisingly intimate setting. Rather than blowing up trains, the invisible man here is a supporting character—a sociopathic abuser who keeps tormenting his girlfriend even after death. Starting with a surprisingly disturbing portrait of spousal abuse, The Invisible Man relegates its title character to supporting antagonist status, and instead focuses on the victim as the lead character. Played very well by Elizabeth Moss (not an actress I like, but one that I respect), our heroine spends most of the movie being tormented in various ways by an opponent she can’t see. Cleverly melding cinematic form with theme, writer-director Leigh Whannell spends a lot of time ratcheting us the tension by showing us… nothing. As the camera pans to reveal an empty corridor, as it composes its shots away from its speaking characters to include vast expanses of… nothing where the antagonist could be, it creates a great sense of tension over what may or may not be there. Surprisingly enough, it takes about fifty minutes for the film to start using the special effects that we expect: much of the starting sequences are in fairly realistic mode, with little here to show us the science-fictional aspect of the story. But The Invisible Man is, at its core, a horror film and it’s really effective as such: Fresh from his work on Upgrade, here we have Whannell delivering another well-executed project. It’s not perfect: it’s definitely a bit long and repetitive at first, and the climax is intentionally not the one we could have expected. But it’s suspenseful and effective, and it shows that salvation for the Universal movie monsters is to be found in smaller, heartfelt projects rather than grandiose plans for yet another cinematic universe.

  • Upgrade (2018)

    Upgrade (2018)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2019) Now here’s a movie that pleasantly surprised me. A lean, efficient mis-mash of conventional SF devices used remarkably well, Upgrade showcases the go-for-broke aesthetics of writer/director Leigh Whannell, playing in a futuristic sandbox without letting go of his usual horror instincts. Here, a man paralyzed by a crime that also left his girlfriend dead ends up the recipient of an experimental treatment: a computer chip that allows him to take control of his limbs … until it decides what to do. Part revenge thriller, part cyberpunk nightmare, part belated entry in the “Artificial Intelligence” wave of SF movies that peaked around 2015, Upgrade is also a blend of science fiction, action and horror with a strong dash of dark humour. It’s needlessly ultra-violent, yet exhilarating in the unusual technique in which its action and fights are captured. The commentary on technology feels familiar yet on-point, and the film is wrapped in an eerie overall atmosphere of off-kilter choices—such as the audio introductory credit sequence. Despite the use of familiar devices, it meets contemporary audiences at their level and proves hugely enjoyable along the way. Giving a substantial role to Betty Gabriel certainly helps. Even at 100 minutes, Upgrade feels like a breeze: I was actually disappointed when it ended, because I wanted a bit more of that good stuff.

  • Dead Silence (2007)

    Dead Silence (2007)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2016) Let’s be clear: Dead Silence is not a particularly good movie. Even as a horror film, it doesn’t reach high, contents itself with much of the usual claptrap of the genre and doesn’t leave much to ponder in terms of themes. After all: killer ventriloquist dolls? Oh, boy. But it does have a few things going for it: A slightly unusual structure in which revenge becomes a motivating driver; some very effective set design (that isolated theatre, in the middle of a lake … wow!), and a completely bonkers final twist that has to be seen to be believed. Screenwriter Leigh Whannell is on record as being dismissive of the result (there was, apparently, much studio interference), but director/collaborator James Wan does manage a few interesting things along the way—to a point where Dead Silence is a good choice for fans of his later movies such as the much-better The Conjuring. Again: It’s not good, but it certainly works well enough to warrant a look, especially if you’re expecting a merely mediocre horror film.