Horror as a genre recycles more than it revolutionizes. The bandaged menaces of ¡°The Mummy¡± (1932) and ¡°The Invisible Man¡± (1933) are still terrorizing audiences almost a century later, if under new names and in new forms.?
Their latest iterations can be found in ¡°The Invisible Half,¡± Masaki Nishiyama¡¯s polished and mind-bending debut feature, which has played widely on the festival circuit.
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