“Soderbergh shoots the scare sequences like an old master playing with a new toy, nestling up uncomfortably close to his star with the unfiltered image quality peering into her every pore. He’s got his tiny camera looming above her shoulder or directly under Foy’s face, so it often feels like the movie itself is stalking her.” – WBUR’s The ARTery, 03/23/2018

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