In a weird way, though, Unthinkable works. Loomis and Talbot craft a suitable mood of unease and eeriness that allow for effective collaboration between the two generic modes. It’s equal parts heartwarming to watch Jones become so involved in the welfare of a dying patient (he insists on cracking the shades of Chris’s otherwise dreary hospital room to let in some light, hoping that it will invigorate the depressed Chris) and unsettling to know that something isn’t quite right in this male bonding.
Ultimately, the movie spends more time on the dramatic element than the thriller element until the very end when the latter takes center stage. So, a little more narrative balance would have made for a more robust picture. Nonetheless, Unthinkable is certainly entertaining and is smart enough not to overextend its welcome.
“…entertaining and is smart enough not to overextend its welcome.”
Performances are fine all around, although Loomis’ deep vocal register results in line deliveries that are, more often than not, outside-voice rather than inside-voice. He’s a talent to watch, but subtlety is not his strong suit. Loomis receives invaluable assistance, however, from the presence of veterans, Vivica A. Fox, as Jones’s superior, and Missi Pyle, as the family lawyer.
Deserving particular mention is Natalija Nogulich, as Alana Williams. This classy actress is so terrific that she single-handedly elevates Unthinkable to a level above and beyond the minor-league thriller it actually is. Nogulich possesses the regal bearing of Frances Conroy or Patricia Clarkson, and her performance is note-perfect on all levels. I would watch her in anything.
Unthinkable doesn’t especially redefine the thriller in any meaningful way, per se. Rather, it’s a quality debut from two talented multi-hyphenates that warrants a watch, if for nothing else than to witness the emergence of a noteworthy new presence in movies.
"…witness the emergence of a noteworthy new presence in movies."