Odd and sexy, troubling and touching, frustrating and mesmerising, dull and haunting. A film by Jonathan Glazer.
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You may not be sure what you've seen, but you've sure seen something. With neither a petticoat nor a wideboy in sight, this is one of the most original and exciting British movies in some time.
Johannson turns out to be perfectly cast, being able to shift from blank alien mode to kittenish seduction without ever letting you see the switch being turned on or off.
It’s an intoxicating marvel, strange and sublime: it combines sci-fi ideas, gloriously unusual special effects and a sharp atmosphere of horror.
A totally wacky head-trip with midnight movie sensibilities and a daring avant garde spirit, Glazer's movie is ultimately too aimlessly weird to make its trippy narrative fully satisfying, but owes much to Johansson's intense commitment to a strangely erotic and unnerving performance unlike anything she has done before.
Glazer’s astonishing film takes you to a place where the everyday becomes suddenly strange, and fear and seduction become one and the same.
Glazer has always been longer on atmosphere and uncanny moods than on narrative, but the fatal flaw of Under the Skin isn’t that not much happens; it’s that what does happen isn’t all that interesting.
More pictorially arresting than intellectually coherent.
Under the Skin is a deliberately oblique piece of work that prizes rhythms and textures above hows and whys.
Under the Skin is perhaps best viewed as an icy parable of love, sex and loneliness.