Tubi Tuesday: The Unseen (2016)

A gripping mystery drenched in atmospheric horror, “The Unseen” weaves a haunting narrative that creeps under your skin.

The Unseen is a captivating Psychological Thriller, distinct from the many other cinematic interpretations of the Invisible Man story. It offers a unique and fresh perspective that intrigues the viewer, making you eager to delve into Geoff Redknapp’s mysterious world in his first movie as a writer/director.

Bob Longmire, played by Aiden Young, captures the character’s apathetic attitude so well that the viewer can’t help but wonder what horrors he’s survived that made him so angry at the world. Young does a fantastic job investing viewers in the plight of the film’s antihero. The plot unfolds slowly, revealing clues sparingly throughout the movie, only giving tantalizing glimpses of what he is dealing with.

The Unseen starts with a seemingly ordinary day. Bob gets dressed and drives to the mill where he works. He glances out the window and watches a loving wife kiss her husband before dropping him off at the mill in a remote snow-covered location. Harlow McFarland’s music score plays in the background, acting as a frame emphasizing the emptiness of his life.

As he sits in the truck, Bob’s expressions reveal his depression and hatred for his job and maybe even his life.

With each glimpse into Longmire’s depressive life, my curiosity grew.

We discover he’s estranged from his daughter, Eva (Julia Sarah Stone), an alienated, misanthropic teen with a huge secret. Her mother, Darlene (Camille Sullivan), is increasingly worried about her daughter, who seems lost and directionless, unwilling to open up and let her mother into her pain.

The first twenty minutes are centrally focused on Bob, his lonely life, and his work at the mill, allowing you to connect and invest in his character.

Then, when he investigates a noise in the mill, he tells his boss that the bearings are going out in the shredders and that he needs to fix them. We watch as he walks over to the machine and stands there, peering inside the rotating blades. It begins to sink in that he plans to kill himself, but he can’t go through with it. 

He informs his highly displeased boss that he has to leave to take care of some business. This sets up the film’s central mystery, as writer-director Redknapp slowly introduces twists and turns while viewers try to discern what is happening.

As Bob leaves work, it becomes clear he’s not well.

You catch a glimpse of what is affecting him, but it is so subtle that you would miss it if you weren’t paying attention. He comes home from work, strides into the kitchen, and pulls out a beer before standing in front of the TV. The light of the set shines through his chest, reflecting what is on the screen — a clever clue to what’s plaguing Bob and driving his nihilistic, self-imposed isolation.

After that, you get more glimpses throughout the movie. By the time we reach the climax, his disease will have progressed to a horrifying degree.  

The film’s slower pace may take some getting used to if you are accustomed to more frenzied action. 

Redknapp takes his time developing his characters and moving the plot along. It’s the cinematic equivalent of Hansel and Gretel, with a trail of breadcrumbs left to guide viewers along a path of uncertainty, pulled from one intriguing clue to another. 

It won’t be until close to the one-hour mark before those clues begin to make sense and you get the gist of where the story is headed. But just when you think you’ve arrived at the destination, Redknapp throws in two final twists you won’t see coming.

Redknap’s versatility shines through in his diverse portfolio, which includes his work on Special FX makeup in films such as Ghostbusters: Afterlife, Cabin in the Woods, Ghostbusters: Frozen Empire, The Last of Us, and the recent Deadpool & Wolverine.

One of the film’s strengths, which reflects Redknapp’s prior career as a makeup artist, is how it handles Bob’s deterioration. Redknapp makes Bob’s transition to invisibility gradual and excruciatingly painful.

This makes his disease more believable and allows us to sympathize with his plight despite his gruff and aloof demeanor.

What sets The Unseen apart from similar movies is that the focus is less on the horror and more on the painful dynamics of the fractured family.

The film explores guilt and parental relationships, blending sci-fi, horror, drama, and thriller elements. However, the central theme that gives the film its gravitas is the bond between Eva and Bob and a relationship that blossoms in the face of shared trauma.

That’s not to say the horror isn’t effective; The visuals are impressively gnarly, and the film’s moody atmosphere keeps tensions heightened, leading to an intense finale. 

The Unseen is exceptional, but not without some minor flaws. Introducing one character, Molly (Alison Araya), adds nothing to the story (though Araya delivers all she’s got with the limited material), and other characters could be better formed.

However, the main characters, Bob, Darlene, and Eva, effectively hold the story together. They were easily believable as a family torn apart and trying to repair the damage.

Aiden Young is riveting as a tortured soul plagued by a haunted past and an uncertain future. Meanwhile, Julia Sarah Stone shines as a teen who feels abandoned by her father, left to deal with something she doesn’t understand, and too terrified to ask for help.

Ultimately, the unique story and strong actors make this a must-see movie.

Written by VL Jones