Covid-19 Exhaustion has set in. The distancing tape is peeling, masks are hanging and the stores and subways are packed again. What is going on?
I guess all of the signs have been up too long, and we need new words to remind us that the pandemic is still here.
Perhaps we should send dead people to walk the street?
Or maybe a sign like this: Do we not remember what happened in March? Do we not remember being stuck in our apartments? Do we not remember the silence of the city? The empty streets? The death tolls? Are we that fucking stupid?
For all the complaining about Trump, maybe we deserved him in the end.
It’s not that good a film. It’s unnecessarily gory, the fight scenes are comical and the jump scares predictable. But Leigh Whannell’s The Invisible Man film does succeed in one area: the use of empty space.
The justification for all of these shots is that the evil invisible man is probably there watching Elizabeth Moss and hence us, and that’s what works so well, what makes it so creepy. It’s akin to Hitchock’s shower scene in Psycho where the shower, the safest place of all, was made dangerous.
Whannell’s film makes every place dangerous – every room, hallway and corner of anywhere you can go. He might be there watching, ready to fuck with our heads.