Sane But With No Logistics.
Soderbergh has been in this street before. With well thought out conspiracies and policies and schemes, he always makes a crime look smart. But in here, it is also sadistic. There is no positivity in this arena of heeling let alone be levity. It is probably his darkest because of not the conflicts but the solutions. There are things scarred in here that would never leave haunting our protagonist and us. The first half is pretty much your usual prisoner-style adventure. Constraining the will and freedom of our relatable and absorbing host Sawyer Valentine (Claire Foy) where the testament of the excellence of Soderbergh’s execution is when the irritation or annoyance does communicate with you.
The procedure how the screenplay keeps giving you enough reasons to stay is productive and also a bit avant-garde, from new camera angles installing in a room or the environment around it where Steven Soderbergh; the director, speaks expressly through it. Foy has a daunting task, to be adaptable to her audience. And since her character is completely opposite to being friendly, the content gets more compact and juicy.
Despite of what she is going through, she has her own flaws and issues to overcome and this is where Soderbergh swoops in and blends these two dilemmas in sync. The supporting cast doesn’t have much to do, especially to that scale in order to stand alone. The vision is not that gore but the innuendos that leaves us with imaginations that screeches into our heart defines the apt horror-ness of the genre. The surprising element in here is the friendship developed by Foy with Pharaoh that gives us somewhat hope. Unsane is misspelled in its last act or maybe it never had that big a vision, not a dime changes at the end of this game.