A Quiet Place Part II: Film Review

A Quiet Place Part II

Courtesy of Paramount Pictures

I loved the first A Quiet Place, I gave it a full five stars and thought it was a terrific horror, so I was cautious about this sequel because I didn’t think it was necessary and I was worried it wouldn’t live up to the standard of the first one.

Following a cool prequel-style prologue, the main action takes place right where the first film ended and it is now day 474 in their new world, which is dominated by monsters with an acute sense of hearing so everybody has to be as quiet as possible to survive. The Abbotts – Evelyn (Emily Blunt) and her children Marcus (Noah Jupe) and Regan (Millicent Simmonds) (plus baby) – must find somewhere new to live and come across a warehouse which their old friend Emmett (Cillian Murphy) calls home. While there, Regan comes across a radio channel that only plays Beyond the Sea by Bobby Darin and becomes convinced the song is a signal so sets off to find the location of the transmission on an island a couple of days’ walk away.

What I loved about 2018’s A Quiet Place was that it was taut, focused and concentrated on one family and their experience of the monster apocalypse. It was inevitable that the sequel would expand and explore the world surrounding them more, but as a result, it becomes more sprawling, the pace is slower and the film has to cut back and forth between different characters and storylines and it just lacks that special magic that made the first film so awesome.

And number two, once again directed by John Krasinski, essentially feels like a bridge between number one and number three. A third hasn’t been announced yet but it is inevitably going to happen since this one basically has no ending. Outside of the incredible, thrilling opening flashback, the action just continues on from the first film and then stops after 90+ minutes even though it felt like it should carry on – there is so much more story left to tell. It didn’t feel like a satisfying conclusion. This sequel is basically just the one that gets them from point A to B and sets up the next storyline, which is apparent from this “ending”.

All this criticism makes it seem like I didn’t like it but that’s not the case. I just wanted it to be better because I liked the first one so much. I found this one less scary in a horror sense, even though there were a couple of good jumps, and more of an unsettling thriller, which was very effective at getting my heart pumping and making me feel tense every time they slowly tried to avoid making any noise is a potentially loud situation.

Simmonds was the emotional heart of the first film and she’s the star of the show here, without a doubt. She has the most exciting storyline, the one that pushes the narrative forwards, and she has such a compelling presence. I liked Regan’s partnership with Emmett and how they learned to communicate without him knowing sign language. Blunt felt side-lined somewhat. She really didn’t have much to do, which is a shame because she had the central role last time. Jupe is a very talented young actor and he does well with what he’s given, while Murphy is ace as what is essentially the kids’ new father figure. Also, Djimon Hounsou makes a small but important appearance and keep an eye out for Scoot McNairy, who looks barely recognisable in his role.

I had a great time watching A Quiet Place Part II but it failed to live up to the standard of its predecessor and I felt disappointed that it wasn’t enough of a standalone story.

In cinemas from Thursday 3rd June

Rating: 3.5 out of 5.

Surge: Film Review

Surge

Courtesy of Vertigo Releasing

I love Ben Whishaw for all his performances – in film, on the stage and as the voice of Paddington – and while he’s excellent in Surge, it’s a super stressful film that I didn’t enjoy much at all.

Whishaw plays Joseph, who is trapped in a soulless job, carrying out security checks at Stansted Airport, and lives a life devoid of emotion, meaning and connection. One day, after an act of rebellion, he breaks free from the shackles that inhabited him and goes on a wild, reckless and impulsive journey through London, robbing banks, destroying property, and having casual sex, and finally finds out what it feels like to be alive.

Surge is an intense, stressful watch on the same level as Uncut Gems – it’s got that same chaotic and frenetic energy and the camerawork has to be very dynamic to keep up with Joseph darting about all over the place making very very bad decisions. Once he has a taste of rebellious life and gets away with it, he is pumped up on adrenaline and makes speedy decisions on a whim and we basically just follow him, observing what he gets up to with his newfound “no f**ks given” attitude.

Whishaw is always fantastic as tortured soul-type characters but we’ve never seen him quite like this before. This transformative role must have been exhausting and Whishaw throws himself into the energy of it completely, nailing his portrayal of someone who could very possibly be having a mental breakdown. I never thought I would dislike any character played by Whishaw, but Joseph becomes the absolute worst, a vile human being without consideration for anybody.

Surge, the first feature film by Aneil Karia, is not for me. I know you don’t have to like characters to enjoy a film but Joseph is so awful, I hated him and didn’t want to find out what he’d do next.

Available in cinemas and on digital platforms from Friday 28th May

Rating: 2.5 out of 5.

Cruella: Film Review

Cruella

Courtesy of Disney

The animated 101 Dalmatians was one of the few Disney films I had on VHS growing up so to say I’ve seen it many times would be an understatement. While I don’t think this live-action prequel Cruella is at all necessary, it was an entertaining watch that’s very nice to look at.

The movie, set in ’70s London, tells the story of Estella (Emma Stone) and how she came to be known as Cruella de Vil, the famous villain from 101 Dalmatians. After growing up as an orphan scamming strangers with Jasper (Joel Fry) and Horace (Paul Walter Hauser), Estella, who has always dreamed of becoming a fashion designer, finally gets the chance to make her dream come true when Baroness von Hellman (Emma Thompson), an industry icon and designer diva, discovers her punk-themed window display in Liberty department store and offers her job. However, it doesn’t take long for their relationship to sour and for them to become rivals.

I enjoyed watching Cruella, it felt like a breath of fresh air because it so different from all the other live-action Disney offerings – it’s darker and not aimed squarely at children – but it’s too long (two hours 14 minutes!), it lags around the middle and I don’t think the story stands up to too much scrutiny. A couple of character moments didn’t feel believable – Estella’s switch to Cruella wasn’t fully earned – and you’ll have to suspend your belief in the storyline in general, particularly towards the end. I think it’s best enjoyed if you accept that it’s lightweight and more style over substance.

And it sure is stylish! Cruella’s biggest strength is the costume, hair and make-up design. Those teams have Oscars in the bag! Their work is incredible and both Stone and Thompson have many costume changes and get to wear some absolutely stunning clothes, with my particular favourites being Cruella’s monochrome punk-inspired outfits. All hail Jenny Beavan!

Also on the visuals, the fantastic and fabulous setpieces of Cruella sabotaging the Baroness’ shows and events and upstaging her with out-there clothing were some of my favourite scenes, they were glorious to look at and heaps of fun to watch, and there are super cute dogs (Wink is so clever!) but I had some issues with the CGI. Considering this is big-budget Disney, I would have expected the CGI to be less obvious and you could really tell when a scene was done on a green screen too.

Stone is perfect, so well matched to the character, and she delivers a cheeky – if slightly hammy – devilish performance, with a solid British accent to boot. Yet, surprisingly, she is often outshone by Thompson, who is sensational as the Baroness, who gives Cruella a run for her money in the evil stakes. She gives off serious Miranda Priestly in The Devil Wears Prada vibes.

Elsewhere in the cast, Horace and Jasper are given an upgrade in terms of character development. They’re no longer just the one-dimensional bungling sidekicks, they’re Estella’s “family” and they’re not happy when she gets too big for her boots and treats them like dirt. Fry brought a lot of grounded humanity to a film that has very little of it, while Hauser is the main source of comedy and effectively delivered a few laughs.

Other cast members deserve a shout out too, such as John McCrea – who was amazing as the original lead of stage show Everybody’s Talking About Jamie – as a queer clothes shop owner who becomes Cruella’s ally. There’s also Mark Strong as John, a mysterious man who works for the Baroness, Kayvan Novak as her lawyer Roger and Kirby Howell-Baptiste as Anita Darling, a fashion journalist. Those last two names might ring a bell if you’re a fan of the animation. There are a few 101 Dalmatians references in here, but not too many.

Cruella doesn’t do enough to justify its existence and has quite a few problems, but it’s a feel-good riot led by two excellent performances.

In cinemas and on Disney+ from Friday 28th May

Rating: 3.5 out of 5.

First Cow: Film Review

First Cow

Courtesy of A24

I have been reading high praise for Kelly Reichardt‘s First Cow for months and months, basically since its premiere at Telluride last year, but I remained cautious as her previous film, Certain Women, didn’t work for me at all. First Cow is a huge improvement upon its predecessor but also not as amazing as the critical acclaim would suggest.

The film is set in Oregon in 1820 and tells the story of Otis ‘Cookie’ Figowitz (John Magaro), a skilled cook who has joined a group of fur trappers. One day, he meets a Chinese immigrant named King-Lu (Orion Lee) and they become friends, with Cookie expressing his desire to one day open a bakery. When Chief Factor (Toby Jones), a wealthy Englishman in the settlement, gets a cow, the first cow in the region, Cookie and Lu come up with a business plan – take some of the cow’s milk during the night to make baked goods to sell the following day.

Like Certain Women, I really struggled to cope with the pacing of First Cow – it is so slow that I couldn’t get into the narrative, didn’t care about it, and really had to try hard and focus, to resist the urge to reach for my phone or close my eyes. Reichardt is known for her minimalist work and First Cow is just as sparse as her other films – I liked the story but it really didn’t need to be told over two hours. It’s so simple it could have been 90 minutes or even less.

The first half was the most challenging as not much happens and it feels rather dull but rest assured your patience will be rewarded. The second half, basically from when the duo starts to make baked goods for Chief Factor, gets interesting and the story’s pace really picks up from there. The tension starts to build as you know it’s inevitable their milk-stealing scheme will be discovered but you don’t know when, how, or what the consequences will be. It actually becomes quite exciting and the pay-off is worth it in the end. It’s a shame it’s so long and the first half is so slow-moving because I would have been far more positive about this film otherwise.

Magaro is a likeable lead and you want him to succeed. He strikes up a cute rapport with the cow, talking to her as he milks her, and I liked his unlikely friendship with Lu. Jones and Ewen Bremner were strong additions to the cast, while Lily Gladstone and Alia Shawkat have small roles.

First Cow didn’t do it for me like it has with many many other critics as I can’t cope with films being this slow and sparse. However, I cannot fault the storytelling in the second half and came to really enjoy the story.

In cinemas from Friday 28th May and on MUBI from 9th July

Rating: 3.5 out of 5.

Rare Beasts: Film Review

Rare Beasts

Billie Piper has come a long way since her days of being a pop star and Doctor Who’s assistant. She has proved herself as a phenomenal actress on the stage and now she’s made her directorial debut with Rare Beasts, which she also wrote and stars in.

Piper plays Mandy, a single mother who lives with her mum and son Larch (Toby Woolf) and works at a production company. She starts dating her colleague Pete (Leo Bill) and the film basically charts the highs and lows of their odd and tumultuous relationship.

I had assumed Rare Beasts was going to be a straightforward romantic comedy but it contains a lot of surreal and experimental elements which were bold and intriguing – like the sound design – but they didn’t always work and removed me from the story. The script started off really strong – the dialogue of the opening scene gave me such hope – but then it loses its way, loses momentum and just gets quite chaotic and messy.

The big issue was that I didn’t care about the central relationship. From the opening scene you knew they were going to be an awful couple and I never once believed they loved each other so I didn’t invest in their relationship. I was rooting for her to grow up, ditch the drink and drugs, dump Pete and pay attention to her son, who has anxiety and a nervous tic.

Anyone who saw Piper onstage in the completely devastating Yerma will know she can act, oh boy, can she act. She gives a good, captivating performance here but it just wasn’t enough to hold it all together. David Thewlis also pops up as her troubled father and Lily James has a small part as a bride.

There were some stellar scenes with ace dialogue and it had some good ideas but it ran out of steam quickly and felt long even when it was only 87 minutes. I give kudos to Piper for being bold and creative with her storytelling and going to unexpected places with the character but they weren’t executed well enough to achieve any lasting impact.

Originally seen during the 2019 London Film Festival. In cinemas and on digital platforms from Friday 21st May.

Rating: 2 out of 5.

Pink: All I Know So Far – Film Review

Pink: All I Know So Far

Courtesy of Amazon Studios

I love pop music, pop documentaries and basically any form of behind-the-scenes footage so Pink: All I Know So Far, her upcoming concert doc, is very much up my street.

The documentary, directed by The Greatest Showman’s Michael Gracey, follows Pink, real name Alecia Moore, as she embarks on the European leg of the Beautiful Trauma World Tour with her husband Carey Hart and young children Willow and Jameson in tow. In particular, the documentary focuses on the 20 days between the European Tour opener in Amsterdam in June 2019 and her concert at London’s Wembley Stadium, after which Willow and Carey flew home for a 12-day break.

This film feels different from other concert documentaries like Katy Perry‘s Part of Me – the gold standard – and pop star documentaries like Taylor Swift‘s Miss Americana and Billie Eilish: The World’s a Little Blurry because its primary focus is on Pink as a mum and how she balances being a performer responsible for hundreds of jobs on the tour and putting on a high-energy entertaining show every night and looking after Willow and Jameson – who were eight and two, respectively, at the time of filming. Both roles are equally demanding and exhausting and hats off to her for managing to have the stamina and energy to do it all.

The film is comprised of concert footage from that tour, although you don’t get many songs the full way through, as well as footage of Pink rehearsing, sightseeing with her family, and looking after the kids back at the hotel. She offers up some interesting insights but there are no big revelations or super candid chats. It also contains surprisingly little of her backstory and history up until that point and chooses to focus on the present of that tour.

This is unlikely to appeal to anyone who is not already a fan of Pink. As a huge fan of her music, I sang along to the concert footage and loved watching her dance and do her insane aerial gymnastics (how can she sing at the same time?!) and immediately wanted to go and listen to her back catalogue.

All in all, Pink: All I Know So Far is an endearing and entertaining film, even if it isn’t particularly deep and revealing.

On Amazon Prime Video from Friday 21st May

Rating: 3 out of 5.

Those Who Wish Me Dead: Film Review

Those Who Wish Me Dead

I haven’t seen Angelina Jolie doing some acting for ages so I was thrilled to see her back on my screen in Those Who Wish Me Dead and thankfully, the film itself is pretty great too.

Jolie stars as Hannah Faber, a troubled smokejumper who recently failed a psych evaluation and has been taken out of action and sent to a fire lookout tower in the remote forest in Montana. One day she comes across a young boy named Connor (Finn Little), who hid behind a tree and witnessed his accountant father get murdered by two assassins, Jack (Aidan Gillen) and Patrick (Nicholas Hoult), before escaping into the forest. The assassins soon realise Connor is still alive and is potentially privy to the information his father was killed for so they set off in hot pursuit. Hannah helps protect the boy from the assassins and the massive wildfire they deliberately start.

Those Who Wish Me Dead is a straightforward and traditional thriller that feels plucked straight out of the ’90s. This type of mid-budget thriller hardly ever gets made anymore or ends up on a streaming service rather than in the cinema, which seems to have become all about blockbusters or indies, nothing in-between. But this old-fashioned film serves as a reminder that these movies are good, there is still interest in them, and more should be made. Let’s bring them back!

Taylor Sheridan, who co-wrote the script with Michael Koryta and Charles Leavitt, has set the bar high with his previous writing credits on Hell or High Water and Sicario and this doesn’t quite match the standard of those but his direction is solid, the pacing is spot-on, and I enjoyed how the thriller played out, although I would’ve liked more details about the damaging information the accountant was killed for knowing.

I was a big fan of Jolie’s work back in her prolific acting days and she shines up on the screen as Hannah, who is one of the boys and uses jokes and banter to cover up her troubles. The role is both emotionally and physically demanding – Hannah needs to be in incredible shape for her job – and Jolie aced the character on both fronts. I don’t have any issues with her acting but she’s too gorgeous to be convincing as this rough and ready person and has too much make-up on in the later scenes when she’s covered in blood, mud and bruises.

Jon Bernthal was a strong addition as the area’s sheriff Ethan, Gillan always makes for a menacing antagonist and that’s no different here, while Hoult doesn’t bring much of that to the table. I didn’t find him at all threatening and knew that Hannah could easily sort him out. But they are all outshone by relative newcomers Little and Medina Senghore (as Ethan’s pregnant wife Allison) – Little does brilliant emotional work for such a young actor and Senghore has the most unexpectedly kickass role in the movie. A very pleasant surprise!

Those Who Wish Me Dead is thrilling, gripping, and tells a compelling story with an intriguing set of characters. I highly recommend it.

Side note: If you’re interested in seeing more about smokejumpers then you should watch Only the Brave (bring tissues!)

In cinemas now

Rating: 4 out of 5.

Spiral: From the Book of Saw – Film Review

Spiral: From the Book of Saw

As a big fan of the Saw franchise, I was excited for Spiral and intrigued to see what new direction this instalment was going to take it in – but I came away pretty disappointed.

The movie follows troubled detective Ezekiel ‘Zeke’ Banks (Chris Rock) – who is disliked by the rest of the force for ratting out a dirty cop years before – and his newly assigned partner William (Max Minghella) as they investigate the death of one of their own team. His gruesome death seems to be the work of a copycat Jigsaw killer who is targeting the (many) corrupt members of the police force and picking them off one by one.

The Saw franchise was done to death (pun intended) and rinsed for all it was worth between 2004 and 2010 – when one was released every year – and 2017’s Jigsaw was essentially more of the same and didn’t do enough to kickstart the series once again, so I can appreciate that Rock, director Darren Lynn Bousman et al wanted to try something a little bit different and give it a new lease of life, throwing in some light comedy and some social commentary in addition to the traps and gore. And I would have been cool with that if they had nailed the execution.

I had issues with the storyline throughout the film, particularly with pacing and the use of too many flashbacks, but I still enjoyed myself – until the last 10 minutes when I felt completely let down and disappointed. The reveal of the new killer is so underwhelming. I waited for there to be another big shocking twist on top, convinced that couldn’t be all, but it was and it was so anti-climactic. Boy oh boy did they fail to stick the landing. It just felt so rushed and underdeveloped and nowhere near as exciting as a killer reveal should be. How could they make it so dull?!

Diehard fans of the Saw franchise may come away disappointed about the lack of classic Saw content. There are still some gory scenes, no doubt about that, but the amount of screen time given to watching people trying to escape the traps is considerably less. There have been so many disgusting, brutal and wince-inducing traps over the years that it must be difficult to come up with ones that are new and up to the same standard of grossness and only one sequence in Spiral made me cover my eyes because it was so stomach-churning. The rest were pretty average and I’ve forgotten about them already. And this is a random niggle, but I really missed hearing John Kramer’s voice on the tapes and TV messages. The new voice sounded weird and I didn’t like it and it made me realise how important his voice had been in those scenes.

I have always felt the Saw franchise had lost sight of its roots in favour of the headline-grabbing torture porn when the original Saw didn’t have too much of that so I’m glad that Spiral has reined it in and brought back the original cat-and-mouse detective storyline, but I think it ended up going too much the other way and being too much of a police procedural. The elements were there to make it a great film but the mystery just didn’t play out well enough, and I thought the commentary about the police and how they “shot first, ask questions later” was rather clumsy.

I wasn’t too sure about Rock leading a Saw movie when the film first began but my concerns dropped away about a third of the way into it. I thought he did a great job. I wish we had spent more time exploring his fraught relationship with his father Marcus (Samuel L. Jackson) and Jackson is generally in this nowhere near enough. I thought Marisa Nichols (Hermione Lodge from Riverdale!) was well cast as Captain Angie Garza while Minghella didn’t do it for me. I’m not convinced he was the best person for the job.

All in all, there were many aspects I liked about Spiral and I enjoyed it for the most part, but it doesn’t do anywhere near enough to justify its existence, and it’s not the strongest launchpad for potential sequels.

In cinemas now

Rating: 3 out of 5.

The cinemas are back! Here’s what you can watch

Spiral: From the Book of Saw

Cinemas in England have been closed since December and I am SO excited for them to reopen tomorrow! I have missed them so much! To make up for lost time, I have got two films booked in on Monday and three overall this week.

Films don’t generally get released on Mondays, but to celebrate the return of cinemas, the following four movies were given the release date of Monday 17th May. Here’s all the info:

Spiral: From the Book of Saw

Get ready for more elaborately gruesome, wince-inducing traps – the Saw franchise is back! This ninth instalment stars Chris Rock and Max Minghella as two cops who investigate grisly murders which bear an uncanny resemblance to the work of the Jigsaw killer. This instalment is said to have more comedy moments and a social justice angle, in addition to the gore.

Those Who Wish Me Dead

Taylor Sheridan‘s new thriller has an amazing cast which includes Angelina Jolie, Nicholas Hoult, Jon Bernthal and Aidan Gillen. Jolie plays a smokejumper who goes on the run with a teenager murder witness in the Montana wilderness to escape a pair of assassins hired to silence him. This is my first screening tomorrow and I’m excited for it.

Peter Rabbit 2

More animated hijinks in this sequel to the 2018 family adventure. Domhnall Gleeson and Rose Byrne return as the live-action leads, who are now married and living happily with the animated Peter (voiced by James Corden) and his family. But Peter gets restless and bored with blissful garden life and causes chaos (as always) by going to the big city.

The Unholy

And for people who like their horrors more supernatural than gory, there’s The Unholy, starring The Walking Dead’s Jeffrey Dean Morgan. It follows a hearing-impaired girl who is visited by the Virgin Mary and can suddenly hear, speak and heal the sick. People flock to witness her miracles but terrifying events unfold. Sounds spooky!

Those are all the new releases but plenty of cinemas are showing some awards season films – the most popular listings are for Nomadland, Sound of Metal and Judas and the Black Messiah – new blockbusters like Mortal Kombat and Godzilla vs. Kong as well as old classics.

If you feel comfortable to do so, please go and support your local cinema when you can! I personally cannot wait to switch off my phone and devote my entire attention to a movie surrounded my like-minded film fans.

The Woman in the Window: Netflix Film Review

The Woman in the Window

As much as I love Amy Adams, I didn’t have the highest hopes for The Woman in the Window because I was massively underwhelmed by A.J. Finn‘s novel and doubted that the film adaptation could make significant improvements upon the source material. However, I didn’t expect it to be quite so bad.

*SPOILERS AHEAD*

Adams stars as Anna Fox, an agoraphobic child psychologist who is mentally unstable, an alcoholic and misusing her pills. She lives alone in a huge New York City townhouse and spends her days talking to her estranged husband Ed (Anthony Mackie) and daughter Olivia on the phone, drinking heavily, watching old movies, and spying on her neighbours, especially the Russells, who have just moved in across the street. One night, she witnesses Jane Russell (Julianne Moore) getting stabbed in her home and calls the police. However, when Detective Little (Brian Tyree Henry) comes to investigate, Jane Russell (now Jennifer Jason Leigh) and her husband Alistair (Gary Oldman) present themselves and insist she is mistaken. What is going on?!

The story is basically Rear Window – with the unreliable narrator angle giving off The Girl on the Train vibes – and it’s obvious director Joe Wright was trying to make an Alfred Hitchcock-style classic thriller thanks to some of the weird stylistic flourishes he rips right out of the Hitchcock playbook, but it was never going reach those heights because it remains rather loyal to the source material’s disappointing story.

With the novel, I really enjoyed the mystery of the two Jane Russells, finding out Anna’s backstory and whether what she saw was real, and it was told from Anna’s first-person point of view so you could truly get into her unreliable mindset. I find films struggle to bring that unreliable narrator essence to life because we’re watching from an outsider’s perspective (The Girl on the Train had this issue too). As a result, we judge her more and are more likely to be on the side of the people who don’t believe her, blaming it on the mix of alcohol and pills giving her hallucinations.

Also, in the book, the third act was such a letdown, it ruined what had come before it. Finn failed to stick the landing and make a believable twist and that’s the same here, even though there are some differences. I generally try to avoid spoilers in my reviews but because most of my issue with the film is to do with the twist, I’ve decided to go for spoilers here.

Not enough time was given to Anna’s friendship with the Russells’ son Ethan (Fred Hechinger) throughout the movie to make the revelation that he’s a psycho shocking. There also isn’t enough explanation from Ethan as to why he’s killed multiple people – for example, what did his father’s colleague Pamela do to warrant being murdered?! His motivations made no sense and everything happens too quickly for the information to sink in before it’s all over. Putting Anna’s lodger David (Wyatt Russell) in this final showdown was a good idea as it added more thrill and drama and there’s a new horrifying gory moment that seemed out of place with the rest of the movie but it certainly made me gasp! Also, the “nine months later” epilogue – which is completely different to the book – annoyed me because I refuse to believe that an agoraphobic with as many issues as Anna (whose backstory isn’t explored anywhere near enough here) can become completely fine in that time and be able to go outside and move house with ease.

I have seen some criticism of Adams’ performance but I didn’t have an issue with it, I thought she was fine. My biggest issue was Hechinger as I believe Ethan’s twist could have been handled so much better in a different pair of hands, even if the script was still rather poor, and Oldman, whose performance was so over-the-top and lacked any sense of nuance and subtlety. I appreciate that Alistair is a stressed man pissed off with his snooping interfering neighbour but his acting didn’t need to be so big and loud.

I liked Russell as David and I’m glad the character got a meatier storyline for the movie and Henry as the sensitive and compassionate cop. It’s hard to comment on Moore, Leigh and Mackie because they have such small roles. I know this was a highly-anticipated film adaptation of a best-selling book when they shot in back in 2018 but I’m surprised they signed up for such minor parts – their talents are wasted! Considering the film has been through extensive reshoots and edits, I can’t help but wonder how much footage of them has been left on the cutting room floor.

The Woman in the Window is not the disaster some headlines are declaring it to be. Yes, it is messy, the acting is bad in places, and the third act is an absolute fail, but I still enjoyed watching it.

Streaming on Netflix now

Rating: 3 out of 5.