At the end of Beyond the Black Rainbow, directed by Panos Cosmatos, a period of quiet contemplation is required to begin unpacking everything one has seen during the preceding 110 minutes. The surreal swirl of stark futurism, psychedelia, and neon indulgence is…pleasantly overwhelming? Comfortably disturbing?
While it might have been cool to watch the invisible man square off against a traditional Japanese ghost or yokai, in the end it was obvious that the only fitting opponent for an invisible man is the invisible man’s natural enemy: a tiny flying hitman.
When news of the invisible man spreads across town, Yajima hatches a scheme to capitalize on the warning that another invisible man is out there. He dresses his gang up in the iconic Claude Raines style overcoat and face bandages and has them rob banks and race tracks while claiming to be invisible men themselves
Invisible Man Appears is, like some of the Universal sequels, more of a crime drama than it is a horror or science fiction film, though there are enough beakers and wild white Albert Einstein hair to give it a reasonable claim to scifi.