The Invisible Man: Last News

The Invisible Man director Leigh Whannell has picked out what he believes to be the scariest scene in the history of horror cinema.The filmmaker, whose latest feature Wolf Man is due out early in the new year, picked a tense scene from John Carpenter’s 1982 classic The Thing in an article for The Hollywood Reporter.“The blood test scene in John Carpenter’s The Thing is a high water mark of terror for me,” Whannell wrote. “Kurt Russell’s character MacReady is using a flamethrower to heat up a wire and then stab it into a blood sample taken from every member of the science team.

The Invisible Man (2020) for a review that he posted about the film more than two years ago.The Scottish comedian, whose real name is Brian Limmond, wrote on Twitter in June 2020 that he initially enjoyed the horror film before finding that it had too many “plot holes”.Now, the film’s director Leigh Whannell has resurfaced Limmy’s comments. “One of my followers just reminded me of the time this guy started critiquing Invisible Man and I was wondering if any of my UK friends could review his work for me,” he wrote on Twitter in a since-deleted tweet seen by indy100.After one of his followers replied, “who is he?” Whannell added: “I don’t know but he started shitting on the film and I was like ‘hey there, filmmaker here’ and he got a bit sheepish and was like ‘sorry, I didn’t think you’d see that’ and I was like ‘it’s the Internet cocksnot, everyone can see it’.”Me and @Lynn_McGoo watched The Invisible Man last night.I really liked it at first, I liked how it wasn't just about a literal invisible man, it symbolised this and that.But as it went on, we were fucking shouting at the plot holes.— twitch.tv/Limmy (@DaftLimmy) June 24, 2020pic.twitter.com/b6E1QFrdun— twitch.tv/Limmy (@DaftLimmy) October 12, 2022In June 2020 Limmy said of the Elizabeth Moss-starring film: “I really liked it at first, I liked how it wasn’t just about a literal invisible man, it symbolised this and that.“But as it went on, we were fucking shouting at the plot holes.

We love movies about women in peril. From “Gaslight” to “King Kong” to Jennifer Lopez with a ridiculous haircut in “Enough,” audiences will almost always pay to watch a woman stare helplessly as a doorknob slowly turns, or hold her breath as a shadow looms next to where she is hiding.

The Korean box office hit rock bottom this weekend due to coronavirus that is fast spreading in the country. According to KOBIS, the box-office tracking service operated by the Korean Film Council, the country’s box office managed some 230,803 ticket sales between Saturday and Sunday. That is lower than the previous weekend’s 285,663 admissions and is not even half the sales managed over the weekend before that.

Disney-Pixar’s fantasy film “Onward” launched with a respectable $2 million in North America on Thursday night.

A woman-in-peril movie is a not a new thing (just think of “Wait Until Dark,” “Eyes of Laura Mars,” or “Panic Room”), and neither is a woman-in-peril movie in which the heroine, after being stalked and terrorized, takes charges and fights back. That was the scenario, 30 years ago, in “Sleeping with the Enemy,” a grindingly effective but rather reductive B-movie that became a success in the summer of 1991, mostly because it was the first film designed as a dramatic showcase for Julia Roberts after “Pretty Woman.”