The opening of The Invisible Man shows it to be a taut, tense and efficient thriller, a promise that is fulfilled through most of its running time. Unfortunately, the script becomes so forced as it relentlessly ramps up the twists and tension that it starts to run foul of its internal logic (neither of the brothers notices that one of the Invisibility suits has gone missing from the lab?) until it rather fizzles out in the the end, which is unfortunate. It reminds me of John Carpenters early films like The Fog and Escape From New York, which demonstrated wonderful premises but had scripts that failed to stick the landing, so the speak, with endings that failed to be worthy of their set-ups.
So its a little sad that when The Invisible Man reaches its finale, it splutters rather than soars and left me a little deflated as it stumbled over one too many contrivances and plot holes. On the whole though, it remains a very good thriller and a welcome change from the typical problematic reboot (the 2017 reboot of The Mummy, for instance). The overwhelming saving grace of the film is of course the star turn by Elisabeth Moss, which is mightily impressive and commanding. Moss carries the film all by herself, with a performance that raises the film to some other level, and promises that her career may finally be moving up from television to the silver screen (not that this carries the acting career kudos it used to, really- these days possibly the opposite is true).