The Success of ‘The Invisible Man’ Reveals the Fallacy of ‘Get Woke, Go Broke’ (Column)
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.”