Review: "Under the Skin"

There's a long line of science-fiction/horror films that feature the predatory female using man's sexual desire against him. In Under the Skin, Scarlett Johansson portrays such a character, prowling the streets of Glasgow, Scotland for unsuspecting single men to lure to her lair. What happens to them when they get there, well... it might make you think twice about jumping into the Prisoners van with Black Widow for a little bow-chicka-wow-wow.

Ms. Johannson's character, an alien, emerges from total darkness through a series of well-choreographed shots featuring, among other things, strange orbs of light. A motorcyclist, who is probably an alien too, picks out a woman with the right height and weight, clubs her, and drags the body back to Johansson, who is, of course, in need of some human clothes for her mission. (If this is a selling point, yes, she bares all for the first time.) Using the name Laura, she sets out into the night, targeting the loners and the lonely. She struggles early on, with how to bait each man, but for someone who just learned English in, like, ten minutes, she gets the hang of it quickly, tempting her prey with the promise of sex. And, Laura makes it all look good, until it's too late.

Now, if you're imagining some horrifying blood-fest, where Laura gleefully pulls out each man's heart and eats it, or something, let me stop you right there. Although there are two scenes that may impact you viscerally, this is an intellectual piece, which doesn't really play out like a traditional science-fiction or horror film. The more she observes, the more she interacts, the more conflicted she becomes. Those newfound feelings of sympathy force Laura to escape into the Scottish countryside, a journey that will show her both the best and the worst of humanity.

Adapting the Michel Faber novel with his co-writer, Walter Campbell, director Jonathan Glazer strips the story to its bones, opting for a more avant-garde approach that eschews any type of explanation and emphasizes mood. There is little dialogue, plenty of abstract imagery, and an experimental soundtrack; the latter of which I found more grating than moody, but it subsides in the second half of the picture. For the scenes where Laura picks up her men, Glazer employs hidden cameras to capture real interactions between his star and ordinary people on the street. While it pays off with some honest reactions, some will find it hard to understand the heavy accents of the non-actors. This section of the film is also a bit tedious and repetitive.

Visually, it's fine work by Glazer and his cinematographer, Daniel Landin. From the vistas of the Highlands to the seedy side streets of Glasgow, Scotland is depicted as a dangerous place, turbulent and unforgiving. There are plenty of interesting shots, but it never feels like they're being precious with the compositions. That philosophy carries over to how they photograph their star as well; it's a more natural approach that leaves the actress looking imperfect, not the glamorized Hollywood starlet we're used to. An interesting and welcome choice by the filmmakers and a brave one by Ms. Johansson.

Despite its flaws, there are moments where everything works, and those moments are intense, engrossing, and full of suspense. One scene in particular is positively chilling; it's one of the best moments on film so far this year. (It takes place on a beach, that's all I'm willing to divulge here.) While I never felt that the film developed any larger themes, which would have made the experience more satisfying, Under the Skin definitely got a reaction out of me at multiple points. It's a daring piece of cinema, and a must-see for the more adventurous moviegoer.