Critic Consensus: Unsane unleashes Steven Soderbergh's inner B-movie maestro, wading into timeless psychological thriller territory and giving it a high-tech filmmaking spin.
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Critic Reviews for Unsane
The formal playfulness may occasionally undermine Unsane's narrative tension, but it keeps the movie engaging on a visual level.
Above all, he revels, with palpable joy, in his repertory of distorted, disturbing, lurid yet lucid images, making a furious movie that signifies nothing but the irrepressible vitality of the cinema itself. Soderbergh's experiment is a success.
A serious movie about mental disorder and the insurance business would be ten times clammier and more disturbing than "Unsane."
Knowing that some of cinema's greatest performances are in B-movies, Soderbergh turns Unsane into a vehicle for Foy's ferocious presence.
In 2018, the questions women are asking of art like this are: What exactly are we being asked to consume, and why do we need to sit through it? The answer is, we don't.
Audience Reviews for Unsane
Although its "shot with an iPhone" premise may seem gimmicky, Soderbergh is capable of capturing intense moments, helped by Foy's mesmerising and unsettling characterization. A gripping thriller that proves, rather than budget or technicalities, storytelling is the decisive tool in filmmaking.
Jimmy Kimmel would hate this, but I kind of loved it.
Soderbergh is a filmmaker who is always interested in exploring new possibilities and technologies, and here he uses an iPhone 7 Plus camera to make a barely decent genre exercise that has too many clichés but at least manages to be fun when relying on Claire Foy being a tough bitch.
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