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Under The Skin [Blu-ray + Digital]

Scarlett Johansson (Actor), Jonathan Glazer (Director, Writer) Rated:
R
Format: Blu-ray
3.9 3.9 out of 5 stars 10,008 ratings
IMDb6.3/10.0
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July 15, 2014 		—
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Genre Sci-Fi
Format NTSC, Widescreen, Blu-ray, Multiple Formats, AC-3, DTS Surround Sound, Subtitled
Contributor James Wilson, Nick Wechsler, Walter Campbell, Jonathan Glazer, Scarlett Johansson
Language English
Runtime 1 hour and 48 minutes
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Product Description

A seductive alien prowls the streets of Glasgow in search of prey: unsuspecting men who fall under her spell.

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • MPAA rating ‏ : ‎ R (Restricted)
  • Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 2.24 ounces
  • Audio Description: ‏ : ‎ English
  • Item model number ‏ : ‎ 28929259
  • Director ‏ : ‎ Jonathan Glazer
  • Media Format ‏ : ‎ NTSC, Widescreen, Blu-ray, Multiple Formats, AC-3, DTS Surround Sound, Subtitled
  • Run time ‏ : ‎ 1 hour and 48 minutes
  • Release date ‏ : ‎ July 15, 2014
  • Actors ‏ : ‎ Scarlett Johansson
  • Subtitles: ‏ : ‎ Spanish, English
  • Producers ‏ : ‎ James Wilson, Nick Wechsler
  • Studio ‏ : ‎ Lionsgate Home Entertainment
  • ASIN ‏ : ‎ B00K0MM4AM
  • Writers ‏ : ‎ Walter Campbell, Jonathan Glazer
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    3.9 3.9 out of 5 stars 10,008 ratings

Customer reviews

3.9 out of 5 stars
3.9 out of 5
10,008 global ratings
Fantastic movie. It's a slow burn
4 Stars
Fantastic movie. It's a slow burn
Fantastic movie. It's a slow burn, but worth every second.The only reason I'm rating this 4 stars instead of 5 is because of the lack of slip cover that is very clearly advertised on the site. To a lot of people, that may not matter. But, as a collector, it's a big deal.
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Top reviews from the United States

John
5.0 out of 5 stars The First Clue to Understanding this Film is its Title: "Under the Skin"
Reviewed in the United States on April 8, 2017
Verified Purchase
The title of this review bears repeating: The first clue to understanding this film is its title: "Under the Skin" and that's figurative as well as literal. Note: if the Scottish brogue is difficult to understand in places, turn on the English subtitles. Then again, fully understanding everything said isn't required, it's carefully observing what you're seeing that's essential.

This UK (more specifically Scottish) film was directed by Jonathan Glazer whose other feature film of note is the 2000 UK gangster movie, Sexy Beast. Not knowing quite what to expect, within the first two minutes I was reminded of the famous Monty Python Flying Circus sound bite used to introduce the next and completely unrelated sketch: “and now for something completely different . . .” Those who insist on an expository narrative should turn away and go elsewhere as they’ll be naught but thoroughly frustrated within the first fifteen minutes. It is best characterized as a cerebral, surrealist mystery drama with a sci-fi theme. It’s definitely not a sci-fi action thriller, or a horror movie with jump scares and a gore fest. One look at Rotten Tomatoes shows enormous numbers of critics, not just a few, “get it”, but significant numbers of the general public don’t. Those that do not are not ambivalent either. They tend to outright despise the film, using vitriolic language and repeated scatological expletives to voice extreme displeasure. The cause is undoubtedly because this film is unlike 99.99% of contemporary English-speaking Occidental cinema. It’s not a 3rd person expository narrative and has near zero dialog. Hence, also, the large number of one star reviews here.

This movie requires patience as it’s a slow burn, but in retrospect there’s a very valid reason.It also requires paying attention from start to finish, and remembering details about what’s already been observed that remains a puzzle piece that hasn’t fit into the final picture yet. There is very little dialog. The screenplay was inspired by Michel Faber’s 2000 novel with the same name, but anyone familiar with the novel will realize very quickly the movie is not an adaptation. It strips the novel down to its abstract core, using its main plot elements and theme while jettisoning narrative details. Those that have seen David Lynch’s surreal films will recognize the surrealist nature of this one immediately. It’s not symbolic though. What you see is what you get.

The narrative is linear. However, the pieces of information aren't necessarily delivered in an order in which they’re immediately useful. The movie starts out with what seems to be the genesis of something that results in someone attempting to make phonetic sounds and pronounce simple words, as if it’s a literate person who’s having to learn how to speak to express thoughts with a vocabulary they already possess. It ends with examining a human eye; IIRC, it has a green iris. Then we have a scene in which a motorcyclist (Jeremy McWilliams) retrieves a comatose woman hidden just off the side of a motorway and puts her into the back of a van where a naked Scarlett Johansson strips off the woman’s clothes and puts them on. She then drives off in the van, going to a shopping mall to buy more clothes and makeup. We get the impression she’s unfamiliar and inexperienced with this. It’s followed by her driving the van around Scotland, picking up young men by asking directions, or for other help, and offering them a ride, using her strikingly beautiful appearance to attract them. She’s seeking single men that live alone. Should be clear quickly that they wouldn’t be missed very soon if they disappeared.

Rather than give us a 3rd person objective narrative, Glazer and Walter Campbell, his co-writer, want us “under the skin” with Johansson, experiencing the world and its inhabitants subjectively in the 1st person, as she does. The first major clue we’re given is the movie’s title: “Under the Skin”. It’s the point of view we’re being given throughout: from under Johansson’s skin with her. This wasn’t immediately obvious to me at the start. I strongly suspected this at about the shopping mall scene. What the film portrayed made much more sense. This POV was quickly confirmed and then reinforced through to the end. A few scenes flip to 3rd person, but they’re obvious as we’re not with Johansson. Any time we’re with her, we’re in 1st person.

Going any further would introduce spoilers. The reveals are slow, but eventually there’s hardly any mystery left. The reality of what’s transpiring is simple and straightforward, but Glazer isn’t going to hit the audience over the head with it. What may seem confusing behaviors are very blatant clues about what this unnamed woman is. The one thing I will provide is this: step outside of being human as if you’re not (social needs, emotions, ego, id, libido, etc.) and contemplate wondering what being human would be like by observing and interacting with them. Then think about most of Johansson’s behavior when she’s out it public. She knows how to communicate well, but she’s a stranger in a very strange land that doesn't have any social or emotional responses, or empathy in common with anyone around her. She is serving a specific purpose and providing a service for the motorcyclist under his supervision (and there are a few more motorcyclists later). The big reveal, in which all the pieces should fall into place occurs in the denouement at the end, but it shouldn't come as a big surprise either. For me it was confirmation of what I was ready to bet the farm on, although the nature of it was unexpected. Glazer doesn't answer all the questions with the denouement, but it’s better if he doesn't, as we’re still under her skin in the last few seconds. It’s left for us to go from there in whatever direction we wish, but for Johansson's character, her story is finished, and that’s what this film is about, her story. Sometimes leaving the larger story open is much more powerful, and IMO that’s the case here. These things didn't come to me immediately at the end. I had to think about this film for a while.

Cross David Lynch with Stanley Kubrick (2001) and Andrei Tarkovsky (Solaris) and add a little Rod Serling DNA. For those who are willing to take on a film that is much different from the mainstream, to paraphrase a few lines from "Kubo and the Two Strings" before pushing the play button:
If you must blink, do it now. Pay careful attention to everything you see and hear, no matter how unusual it may seem. And please be warned, if you fidget, if you look away, if you forget any part of what you see, even for an instant, then the story will surely elude you.

John
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Kelly Dowhower
5.0 out of 5 stars IN-N-OUT vodsel
Reviewed in the United States on January 5, 2016
Verified Purchase
NOTE: This is a review of the book AND the movie--sort of a compare contrast deal.

One of the most haunting stories I've ever read. It's so creative I can barely believe it. Still, slow-motion nightmarishness. A mix of the philosophic and gruesome blood hash death! It gets the Kelly D. Snuff Maximus Award for nastiness and blood drenched slaughter. If they ever made a movie that followed the book strictly, it'd make John Hurt's chest exploding scene seem like Winnie the Pooh getting his head stuck in a pot of honey.

Isserley is an extremely surgically-altered alien female who drives around Northern Scotland in search of fresh meat; alien as in outer space—not from Central America or Syria. Not that she or her peers can eat such meat; earthling/vodsel is a delicacy on her planet. It's far too expensive for her class to purchase. They were allotted the “poorer-quality mince, the necks, offal and extremities.” Lovely. Yeah, Isserley is from an unnamed planet choking on its own runaway pollution. The wealthy, "elite," live their entire lives inside and let the lower classes provide their sustenance and riches. Therefore, obviously, Isserley's is a low-level job, but still considered above the drudgery of working in the "New Estates," located in a hideously overpopulated and claustrophobic underground. It’s a more technologically advanced type of Morlock society, if you will. In the mind’s eye they think of themselves as the civilized society, and humans as the “savages.” However, these aliens actually seem to be physically closer to what vodsels call canine. Michel Faber does a great job of translating their native thoughts and communications into English without being the slightest bit intrusive.

Interestingly, there’s a category of space traveling elites from her planet that would be labeled here on earth as “tree-hugging environmentalist whackos.” Isserley hates them. In fact, when one of these alien environmentalists comes to planet earth, “Amlis Vess,” he releases three of the captive vodsels which were being prepared for slaughter. After which, there’s a nightmarish, keystone cops slapstick scene wherein Isserley and a meatpacking laborer have to hunt down the fugitive vodsels before they’re found out! It’s cold, and the naked, grotesquely-fattened-by-space-steroids vodsels are shivering and turning blue; their bodies bloated like Michelin men. Their teeth have been pulled and they're castrated for good measure. They can’t talk and only “moo.” S*** drizzles down their overfed, stammering legs. After this Benny Hill saxophone corralling situation ends, the two exhausted chasers look at each other and start to laugh. Unbelievably hellish hijinks, eh?

Isserley knows earthlings far better than the elites do. The elites have only heard rumors that vodsels can communicate with any sophistication. When Isserley tours the vodsel stockyards with Vess, one swollen, mewing vodsel writes out the word “mercy” in the dirt floor of their corral. Vess is curious if it means anything. Isserley says “of course not.” She knows that vodesels can write, however. She's watched enough TV to know that. Nonetheless, she misinterprets the word as “murky.” She does not provide information about vodsels to the nobles because she despises “humans” like Amlis Vess. Isserley is not a happy space camper. Her cynicism runs deep. She thinks vodsels are shallow, empty animals. They lacked “siuwil, mesnishtil, slan, hunshur, hississins, chail and chailsinn. They couldn't siuwil, they couldn't mesnishtil, they had no concept of slan. In their brutishness, they’d never evolved to use hunshur; their communities were so rudimentary that hississins did not exist; nor did these creatures seem to see any need for chail, or even chailsinn.” These terms obviously relate to the intellectual and philosophical depth of her civilization. At the very end of the novel, you get a glimpse of the Buddha-like nature of these elements in her culture.

Isserley is brutally raped by a serial murdering vodsel in a scene that made me wanna puke.

“His penis was grossly distended, fatter and paler than a human's, with a purplish asymmetrical head. At its tip was a small hole like the imperfectly closed eye of a dead cat.”

“After a minute with his urine flavored flesh in her mouth, the knife-blade on her neck was
lifted slightly, replaced by hard stubby fingers.”

“'Murky,' she pleaded.”

Thankfully, she hideously kills this scumbag.

This ordeal drives Isserley a bit insane, which manifests itself in a temporary gory-maximus-blood-lust; she brings in a sedated vodsel and demands that she be allowed to watch his grisly, thick gouts of crimson castration. This adds to her already complete and everlasting cynicism. Too bad her revenge-by-proxy is taken out on a genuinely good vodsel. Between the grotesque inequality of her culture, and the barbarism of most of the vodsel males she meets on her travels, it would be bizarre if she was NOT filled with hopeless pessimism.

The message is pretty clear, male vodsels blow.

I have some problems with the book. For instance, the aliens have to know that vodsels can build cars, planes, and even rocket ships. But they don't know if they can write? What the hell was Faber thinking? What the hell were his editors thinking? Unless I missed something, this is an egregious f-up. I could not blame someone for not liking this book because of that major flaw. But I'm a forgiving reader. My philosophy is that in a fictional world, anything can make sense—even nonsense. In art, sometimes pieces don't fit together “correctly” without the “flaws.” It doesn't “sound right.”

“Under the Skin,” the movie, doesn't have this “flaw.” It's even more of a feminist story than the book, and the book is plenty feminist. The book's story telling is extremely loud, whereas the movie's story style is deafeningly quite. The cinematic version is made even more chilling because of the stark contrast between the quiet characters and the in-your-face, roaring sound design and score. Also, the movie is fast, the score is not. Silence is a powerful, POWERFUL tool. A book is wall-to-wall, rock 'n roll movement. Of course, a novel DOES give us a lot of information that we have ponder in solitude, and that's a completely in-your-head sort of silence. The final scene reminded me of the burning dowry deaths of the Middle-East, as well as our burn-the-victim-not-the-rapist culture.

Both the book and the movie are brilliant, and they complement each other—weirdly.
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Amazon Customer
4.0 out of 5 stars Creepy film
Reviewed in the United States on March 8, 2024
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What a creepy and disturbing film. Scarlett Johanssen does a good portrayal in my opinion. Hope this flick doesn't give me nightmares
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Top reviews from other countries

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Babette
5.0 out of 5 stars Wunderbar verstörender Film
Reviewed in Germany on April 17, 2024
Verified Purchase
Alles, was ich über diesen Film gehört und gelesen hatte, ist falsch. Es ist kein Thriller, kein Science-Fiction und auch kein Vampirfilm. Und ich glaube auch nicht, dass es hier auf eine kohärente Handlung überhaupt ankommt. Was hingegen zählt, sind Bilder und Momente, von denen keiner vorhersehbar ist: surreal, bildhaft assoziativ, zärtlich und brutal zugleich. Vielleicht könnte man das Ganze als eine Art fluides Horrormärchen bezeichnen. Was Jonathan Glazer hier ausprobiert, erinnert mich an Filme von David Lynch. Glazer ist aber weniger manieriert.
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XAVIER
5.0 out of 5 stars Under the skin( Blu ray) with slipcover Spanish edition.
Reviewed in Spain on April 10, 2021
Verified Purchase
If You can't buy the steelbook at the moment ,surely this's the best option.Beautiful slipcover with black amaray box inside.
Important for Spanish customers.The film contains DTS sound in English but with Spanish subtittles.I mean it's only edition including those.
As for seller,PLEASE,buy with total confidence.The store's a first class one.
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Raul G
5.0 out of 5 stars Ciencia ficcion cerebral
Reviewed in Mexico on December 23, 2017
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Esta pequeña reseña es para a versión estadounidense del blu ray de esta película,la cual que incluye copia digital.Menciono esto por que he notado que en ocasiones amazon junta todas las calificaciones de un producto sin importar el formato u origen de fabricación.

Una de mis cintas favoritas de la década,con una atmósfera perturbadora.

Esta edición contiene la presentación en formato alta definición, el transfer es muy bueno pues el contraste es solido y no presenta artefactos que afecten la imagen de manera grave. A pesar de esto hay ciertas instancias donde se nota el cambio de cámaras, estas siendo el uso de cámaras go pro escondidas en el interior de la camioneta, pero de nuevo nada verdaderamente significante o que "arruine la experiencia".
No es un titulo que usaría como material de referencia en el departamento de video pero no esta nada mal.
El sonido es solido, el track lossless 5.1 DTS HD master audio maneja bien los sonidos ambientales, que si bien tienen un diseño minimista son efectivos cuando es necesario, desde sonidos de olas chocando contra la playa, o la música a todo volumen de un club nocturno y el score crean el efecto inmersivo deseado.

En cuanto a los extras son bastante discretos.
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ボブ
5.0 out of 5 stars インポート版でも問題無し。
Reviewed in Japan on December 22, 2018
Verified Purchase
劇中にほとんど台詞が無いので、インポート番でも問題ありませんでした。
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Veilleur
5.0 out of 5 stars Condamné à mort sur cette planète
Reviewed in France on March 16, 2016
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L'histoire, on la déduit des images, on l'interprète, on la refait. Les images indiquent des pistes au spectateur et les bribes que nous laissent le réalisateur donnent plusieurs pistes d'interprétation. Pour ma part, j'y vois un extra-terrestre condamné à mort et à vivre sur notre planète. Il s'y livre à des exactions meurtrières et répétitives jusqu'à ce que la mécanique s'enraye, qu'il devienne partiellement humain et perde de sa toute puissance d'attraction. La fin du film montre toute sa vulnérabilité dans la peau de cette jeune femme livrée aux appétits les plus grossiers.

Le film est étrange, certes, et déroutera ceux et celles qui s'attendent à voir de la SF un peu plus classique avec des univers étranges. Le réalisateur montre que notre univers est également étrange et peuplé d'êtres en souffrance. Notre Terre serait-elle une prison également pour les humains condamnés à errer dans leur condition ? "Under the skin" ne se laisse pas aborder au premier visionnage. Il y a des images dures et des images d'une poésie flamboyante. Scarlett Johansson, à l'inverse d'autres rôles plus spectaculaires, livre une prestation toute en retenue et en mutisme (peu de paroles, visage impersonnel), loin de toute sensualité y compris dans les scènes où elle est nue et montre un corps tout à fait ordinaire. Son personnage s'apparente à celui d'une grosse araignée séduisante qui prend les hommes dans son filet et les vide de toute substance mais en absorbant leurs corps, elle absorbe aussi la part de douleur de l'Humanité.

Le film est visuellement très beau et j'adore la musique. Ceux qui ont aimé des films comme "Stalker" ou "Code 46" seront sans doute séduits par ce film. Les autres seront plus dubitatifs.
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