Unsane Screen 7 articles



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  • Makes for a fun companion film with Logan Lucky in the way both use genre to poke at and expose the corruptions and failings of our American institutions. I wouldn't call it consistently scary (the tone kinda reminds me of the more fun breeze of something like Slumber Party Massacre and it wears it well) but there are definitely moments and specific shots that are genuinely terrifying.

  • Already several reviews have played this as genre slumming for its director, a person to whom I have enough ties that I'm enjoined from officially reviewing his work. I will say these characterizations are ill-informed and this is a film as craftily and deeply written as it is shot and acted. The Blue Room scenes are insane and (I think) a bit of a subterranean Lynch nod.

  • It whips along with a B movie efficiency that’s particularly welcome and refreshing in the context of a festival like the Berlinale. It’s possible that it’d cut less of a profile elsewhere, but there’s something awfully winning about the way that, even as it’s expertly yanking you around the sharp corners of each twist, it’s also slyly encouraging you to laugh along, albeit a bit more blatantly in one scene featuring an outright comic cameo performance.

  • It might not be a major movie, but it’s the sort of impassioned experiment afforded by new tech that one hopes more established directors would take advantage of. Keeping things interesting for its entire duration, Unsane never settles down, shifting and evolving with clever narrative design.

  • All is not what it seems in Stephen Soderbergh’s Unsane – which would be fine except that this is the kind of all-is-not-what-it-seems psychological thriller that requires the audience to take leap after leap of faith for it to carry any weight at all. . . . Returning to the knowing twistiness of his 2012 thriller Side Effects, Soderbergh makes Unsane work teasingly, until things edge too far into the realms of the Gothicly lurid to be remotely plausible.

  • Even Unsane‘s most ridiculous moments coast on the sheer energy of aesthetic gamesmanship. . . . Soderbergh remains a major artist at the peak of his powers, fascinated by the textures of the contemporary world—the actual one, not the one we usually pay to see at the movies. Even if he’s just flexing a new mode of production, the result is still 98 minutes of shredding, analeptic cinema.

  • Given the parameters, “Unsane” is vast deal better than it should be. It’s pulpy and nasty and surprisingly slick, featuring a terrific, Salander-casting-justifying central turn from Claire Foy. But that really is _given those parameters_, and when you get the feeling that the parameters are the reason there’s a movie here at all . . . you get a strange feeling of looking for the cart behind the horse, but finding it up front.

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