| A24 | Release Date: April 4, 2014 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
40
Mixed:
6
Negative:
3
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Critic Reviews
The GuardianMar 20, 2023
It sure as hell got under mine. Jonathan Glazer's sci-fi horror is loosely adapted, or atmospherically distilled, by Walter Campbell from the 2000 novel by Michel Faber. The result is visually stunning and deeply disturbing: very freaky, very scary, and very erotic. It also comes with a dog whistle of absurdist humour that I suspect has been inaudible for some American reviewers on the international festival circuit so far.
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A truly extraordinary trick has been pulled off: Under the Skin manages to foster empathy with an entity as isolated from human experience as an avalanche or a weather system. Such achievements tend to allow films to be classed as masterpieces. That word may not be too weighty for Glazer’s towering curio.
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Actors aren’t Navy SEALs, I know, but Johansson was, in fact, brave to take on this role: brave in that it’s a sharp left turn from what audiences expect or even like; brave in that she embraced an artistically bold method of building a movie when most other movie stars would have said no thanks to the idea of chatting up random Scotsmen in a van.
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There's something fairly malignant in the way Glazer's strange movie holds attention, against the urge to give up and leave. There is no doubting its boundless artistry or pretension, a dangerous position for any movie in today's love-me pop culture to place itself in. Under the Skin is exactly where it gets.
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What’s under the film’s surface is intriguing enough, but it’s the surface itself that holds you in a dark trance. A portrait of alienation filmed from the alien’s point of view — or is it just a woman’s? — the movie’s a cinematic Rubik’s Cube that snaps together surprisingly easily, yet whose larger meanings remain tantalizingly out of reach.
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IndieWireSep 17, 2013
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.
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