mike48128 The great special effects regarding the "Invisible Man" "gags" are outstanding and almost over-power the entire movie. Costello is quite a bit thinner here than he is was in 1948, in their "Frankenstein" monster classic. Typical A&C routines abound. As usual, almost everyone thinks Costello is "seeing things" and is imagining an invisible man. As always, Lou is taken advantage of by the "pretty woman" and Bud gets ignored completely. The film is so well-cast that it is superior to many Bud and Lou movies. Supporting actors include: William Frawley, Sheldon Leonard, and Arthur Franz. A lot of fun for all. Cute ending, as Lou disappears for a short time and re-appears with his feet on backwards.(Note: no playback problems in this 2015 four movie re-issue.)

AaronCapenBanner Abbott & Costello play Bud Alexander & Lou Francis, two recent graduates of a private detective agency whose first case involves helping fugitive boxer Tommy Nelson(played by Arthur Franz) who is wanted for the murder of his manager. Tommy insists he's innocent, and is aided by a scientist who has acquired the invisibility formula of the original Invisible Man(Claude Rains' picture is seen!) Of course, this formula causes Tommy to gradually go insane, but not before he helps Lou trap the real killers by assisting him in the ring, where he is now "Louie The Looper". Funny comedy makes up for not having Vincent Price by creating clever gags around being invisible, with good F/X and energetic direction. A worthy follow-up to "Meet Frankenstein"(and not a sequel either, just an amusing spoof.)

kyle-mcdonald This another great bud Abbott and Lou Costello and because of all the same reasons it has great comedy in it the acting is good in it the actors are good in it it has a good story line to it and the effects are good in it everything is good in it. so i'm sure that you will not be disappointed with bud Abbott and Lou Costello meet the invisible man. so make sure that you rent or buy bud Abbott and Lou Costello meet the invisible man because it is a great bud Abbott and Lou Costello movie. so i'm sure that you will have a good time watching it and you will watch it over and over again.overall score ******** out of ********** ***1/2 out of *****

vandino1 This was A & C's second attempt at using the "Universal Monsters" to provide a horror counterpoint to their comic antics. Obviously, after the logjam of monsters in A & C meet Frankenstein (including a bit with The Invisible Man at the end) this film couldn't compete. There's no Claude Rains here from the 1933 classic (or even Vincent Price), but instead an unimpressive Arthur Franz. Of course Rain's John Griffin character was dead by that film's end, and this story is as much about boxer Franz as it is about invisibility. It should be titled: 'A & C Meet The Invisible Boxer.' The link to the original is an almost "blink and you'll miss it" reference to "John Griffin's original formula" and a shot of a photograph of Claude Rains.A & C play novice, fresh-out-of-school, detectives. By 1951 they both looked tired and dissipated, although Costello's earlier career as a stuntman helps him with the slapstick his aging body is put through here. Their characters get involved in helping the now invisible Franz clear his name of murder and bring down the boxing mob that did the actual killing (led by Sheldon Leonard doing his umpteenth slick New York-style gangster role). Frawley is the uncomprehending cop quite reasonably suspicious and alternatively disgusted with A & C. It's all pleasantly handled and features some terrific effects (for some reason Hollywood films, even way back then, could do invisibility tricks very well). The film moves along fairly fast at first, then slows down badly in the middle (lots of sitting at card tables and restaurants in order to do some invisibility bits but they go on too long, making the story and pace stiffen up). On the plus side for this film, the A & C comedy team benefits from having Abbott play things dumber than Costello at times, and also happily dispenses with those curiously violent and unfunny bits where Abbott rages and slaps at Costello. And Costello abandons most of his annoying baby-ish antics in this one (although at one moment he unaccountably starts sucking on a magnifying glass as if it were a lollipop--weird). And speaking of weird, the closing gag with Costello's legs is funny but makes absolutely no sense.