Unsane (2018)

What first appeared to be a fun riff on One Flew Over the Cuckoo’s Nest soon transforms into something much darker.

We’re in schlock corridor here and Soderbergh runs with it, cellphone in hand; under the buzzing suspense mechanics, however, a cautionary note on the perils of disbelieving women is just audible.

Unsane brims with curiosity about digital technology, discomfort with corporate bureaucracies, and is spiked through and through with icy wit – in short, it could never be anything but a Soderbergh film, and a particularly delicious one at that.

Even Unsane's most ridiculous moments coast on the sheer energy of Steven Soderbergh's aesthetic gamesmanship.

Topicality is not mandatory, and it’s clear the agenda here is for salacious genre thrills rather than anything deeper or more profound, but when the film’s form is such an embrace of modernity, it feels like cognitive dissonance to have the story skew so old-fashioned.