Unrelenting tension that envelopes into a jolt of abrupt and unexpected terror followed by pure dread is a horror tactic I would love to see trending.
For instance, in the scene when Cecelia is meeting her sister, Emily (Harriet Dyer), in a restaurant, the shock of the unseen assailant slitting Emily’s throat before placing the knife in Cecelia’s hands is not nearly as horrifying as what comes after: the immediate realization that Cecelia will never be able to escape her stalker’s wrath now that he has framed her for own sister’s murder.
Instead of preparing the audience for the next big shock, Leigh Whannell keeps them completely unprepared and in constant, anxious anticipation before the moment that I hesitate to call a “jump scare,” which I would say actually serves as the end of a sort of “prologue” before the real terror has yet to happen in The Invisible Man.