Johansson makes a great performance in an unlikely role, adding great sensuality to the film, even with her very different looking. The story and movie on itself is a rarety. Very fresh but, also, kind of an unfinished joke.

This was a very bizarre and unique viewing experience for me. I greatly enjoy cinematic puzzles, and directors who have the wherewithal, guts and personal integrity to stick to their guns and project their distinct visions without caving in to corporate pressure or normal sensibilities. It is work like this at the cinematic vanguard that makes cinema the most aesthetic of all art forms and the greatest and most intrinsically satisfying component of my life. Though I have Glazer's previous two films, I have sadly not seen them yet, a condition I hope to remedy as soon as possible. A woman and actress of Johansson's beauty is perhaps one of only a select few currently out there who could pull this sort of thing off. And yes, this would make a remarkable double bill with 'The Man Who Fell to Earth'.

**The lady from the white van.** First of all, this is not an entertaining film, but an alien theme on a fictional plot like how they would come live among us. Before that, they need to look like us, so they steal human skins and that's what this film is about. Most of the film was in a van driving around in the Scottland. An alien disguised as a human, looking for the single men in the uncrowded places to seduce and steal their skins. But one day after got curious about being a human being, her routine work gets affected seriously and so what happens to her after is told in the remaining film. It's certainly not the film I was looking for. That's the reason I did not watch it when it got out. But I kind of liked it, it was not as boring as the others advised me. Usually films are for pleasure and timepass and this film did not have those qualities. Hence it financially failed. Surely some people would enjoy it, particularly the critics praised it which is unusual. From the director of 'Birth', Scarlett Johansson in the lead and she was the only good thing in it. The story was a little complicated, so not everybody going the get it, not at the first glance, but if you do, you will enjoy it. The locations were awesome. Watching it on the cold stormy day brought me that original Scottish atmosphere here. I should have rated it better, but no regret for what I gave for it. Its not a suggestible kind, though worth a watch if you're fed up with the regular commercial films. _6/10_

A total artistic wank piece. The plot moves at a glacial speed, thanks to all the filler in it. Sure, it's about a curious alien living among humans and consuming them in some mysterious black fluid that only said alien can walk on. Other than that, it is absolutely boring as hell and totally lacking in any amount of entertainment. The cinematography itself is great though only in some limited moments. I have a thing for beautiful landscapes but let's be realistic, I watch National Geographic and BBC documentaries for that. Otherwise, a lengthy look out in thick white fog from within a motor vehicle is not my idea of an entertaining nor intriguing scene. In short. Absolute rubbish. After the first five minutes, I realised the glacial pace of this film and watched it at 8x playback speed to try and find some semblance of a climax. Nup, nothing. Don't waste your time. It failed financially and if you dare to still watch it, you will realise why.

Well hats off to Scarlett Johansson for agreeing to come filming in a wet and wintry Glasgow for this quite intriguing sci-fi drama. She drives around the city in her van, ostensibly on the prowl for horny young men looking for a quickie. Back at her's, though - and that's not always the same place - they find themselves in all together different sticky situation. There's no violence, or brutality - just a gentle, I suppose drowning, sensation. What is going on? Does she even know? Things begin to change after a trip to the forest that she encounters a gamekeeper who is more used to setting the pace rather than following. His attempt to rape her in the woods seems to act as a catalyst and... Now there is a conundrum here. Is her behaviour changing because of her human interaction, or is it the very nature of that interaction that is feeding her needs? Well that's a question that dogs this quite artistically filmed, large dialogue-free, mystery and maybe there just isn't an answer. It is fun to see a woman doing the predatory work here - her charms equally effective on even the chavviest of Glaswegians, and what I liked about the end is that I still didn't know. It's an odd film, this - enjoyable isn't quite the word, but it is certainly unusual.

What a beautifully intriguing film. I can tell it's not for everyone, but I certainly enjoyed it beginning to end. It's very visually interesting with well executed practical effects and eerie sound design. Scarlett Jo does an incredible job in her role, she manages to sell being something not quite human. There isn't a a neatly packaged narrative that wraps up nicely at the end, so if that's what you want then maybe skip this one. I'd say it feels very suspenseful, without there being a release/reveal. Parts of it feel like a dream that keeps repeating. A dark dream that's not quite a nightmare; you're more curious than afraid. I don't want to spoil more, just give it a chance if you're open to something different. Maybe approach it as art, rather than entertainment. Enjoy(:

Jonathan Glazer's "Under the Skin" arrives with the weight of critical adoration and art-house credentials, yet ultimately delivers less than its reputation suggests. While technically accomplished, the film demonstrates that technical virtuosity alone cannot substitute for genuine creativity. Mica Levi's dissonant score creates a genuinely unsettling atmosphere, and the hidden camera techniques yield moments of documentary-like authenticity (but not in Werner Herzog's class). Scarlett Johansson commits fully to a physically demanding, nearly wordless performance. These elements deserve recognition. However, in its pursuit of profundity, "Under the Skin" merely repurposes themes and techniques that other filmmakers have executed with greater purpose and originality. The minimalist dialogue approach lacks the emotional resonance achieved by masters like Kim Ki-duk. Its abstract visual flourishes feel tame compared to truly experimental cinema. As a narrative about discovering humanity, it pales beside Yorgos Lanthimos' more philosophically rich "Poor Things." What's most disappointing is the film's self-serious posturing. Glazer seems to mistake obscurity for depth, slow pacing for contemplation. The alien-learns-about-humanity premise isn't inherently flawed, but "Under the Skin" offers no fresh perspective on this well-worn science fiction trope. In cinema, technical achievement should serve story and theme, not replace them. "Under the Skin" remains watchable but barely so, offering impressive craftsmanship in service of insights that never materialize. The film builds to a conclusion that feels neither earned nor illuminating - the cinematic equivalent of an elaborate frame surrounding an empty canvas.