Ultrasound review: An auto accident is the catalyst for a dreamlike nightmare involving various strangers in Rob Schroeder’s confounding sci-fi thriller
There’s a limit to how long a movie can mess with viewers’ minds, and “” eventually crosses that threshold. A thriller whose discomforting early going provides few clues to the head-spinning madness lying in wait, director Rob Schroeder’s feature debut channels a host of acclaimed masters while attempting to craft a uniquely beguiling dreamscape in which nothing is as it appears.
Heading home in the rain from a wedding, Glen drives over a plank of nails and has to seek help at a nearby house. There, he’s welcomed in by Art , who after a bit of friendly chitchat, cajoles Glen into sleeping with his younger wife Cyndi . Glen’s unease over this arrangement is significant, and it only escalates when, a short time afterwards, he’s visited at home by Art, who shows him a videotape of a pregnant Cyndi in the shower.
At the same time, “Ultrasound” turns its attention to two other women. Katie is having an affair with running-for-reelection senator Alex Harris , as well as contending with comments about her own pregnancy — even though her stomach size seems to vary at a moment’s notice. Somehow, the plights of Katie, Glen and Cyndi are also related to that of Shannon , a psychological researcher employed at an enigmatic facility run by Dr. Conners .
As penned by Conor Stechschulte , “Ultrasound” has been designed to confound, and confound it most definitely does for the majority of its runtime. The film clearly intends for such uncertainty to be intriguing, but the further it plunges into mystifying sci-fi terrain , the more its lack of clarity begins to irk.
Mathew Rudenberg’s color-coded, fish-eye-lensed visuals amplify the dreamlike unreliability of everything depicted, and Zak Engel’s score — full of eclectic and menacing electronic noises that are directly related to the plot’s bombshells — further contributes to the material’s disorienting quality.
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