Brian De Palma’s first Hitchcockian thriller. I won’t discuss plot and have redacted spoilers.
I loved the Psycho, Rear Window, and Rope influences and the formal execution. The split-screen technique generated terrific suspense.
Margot Kidder shines. The scene where she looks possessed after she
redacted shocked me. Granted, after Superman and Black Christmas, her French accent feels forced, but I can get past that.
My problem lies with the (non) ending. It’s an exposition-laden cop-out of style over substance. Pretty to look at, but lacking resonance. Better to leave some things unsaid and avoid the lame
- 2018 | Criterion↩