Everyone hides something in “The woman in the window. “Unfortunately, the challenge here is not to decipher the film’s lavishly portrayed secrets, but to find reasons to care about them in the first place. A versatile British director in this regard Joe Wrights visually stylish but ultimately sluggish Thriller commits perhaps the most cardinal genre sin of all. Somewhere in the midst of suspicious neighbors who may have killed someone, stormy New York City nights, and one too many cases of pill popping and heavy drinking, it forgets to have fun and its “Ex girlfriend“Echoes in a Contemporary”rear window”Template (if this is not already evident in the title).
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Adapted from Tracy Letts from the bestseller by A.J. Finn (a pseudonym for Dan Mallory“The woman in the window” finds his curiosity, which a few years ago aroused some controversy, among other things because she invented details about his personal story Jimmy Stewart in a capable, yet generically memorable one Amy Adams. She plays the once suicidal Anne Fox, a child psychologist stuck at her pretty large and attractively decorated Harlem brownstone, not because of a broken limb, but because of a severe case of agoraphobia caused by thinly veiled reasons that will be explained later.
Through quick assemblies, we learn that Anna has a handful of connections to the outside world beyond the grocery deliveries, which she hesitantly accepts behind a half-open door. There’s her worried ex-husband Ed (Anthony Mackie), whom she often talks to on the phone about her daily battles – we only see him through flashbacks that are fed into the story in annoying scraps. There is also her arrogant therapist (aptly played by Letts himself) who seems to aggravate Anna’s problems rather than alleviate them. Finally there is her friendly, handsome cellar tenant David (Wyatt Russell), who enters Anna’s townhouse to take care of small, handy jobs around the property.
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As if Anna knowingly wants to nod to the masters of the kind of film she is in, she spends her days watching old films from people like Alfred Hitchcock and Otto Premingerwhile falling asleep on a variety of substances. ((Valerio Bonellis Handling unsubtle punches hammers on the fact that Anna often loses her grip on time.) Her routine is enlivened when the Russells, a family with a mysterious past, cross the street. First, young Ethan (a memorable one Fred Hechinger) shows up at Anna’s front door with a neighborly gift that his mother sent him. (In this version of town, this 21-year-old New Yorker is deeply unknown. You don’t seem to get alarmed when new people on your block send you presents.) The suspicion that the sweetly shy Ethan is being abused at home by his authoritative Father Alistair (an effectively intimidating one Gary Oldman) Anna decides to keep an eye on him and openly invites the child to stop by at any time.
Anna’s next guest is none other than Mama Russell Jane, played by Julianne Moore in a performance that breathes much-needed fresh air into the boring mode of the film. With an intentionally exaggerated accent and extreme mannerisms reminiscent of their superficial, darkly entertaining “Cards to the starsMoore seems like the only one having a good, mischievous time with the movie’s premise. It’s a shame she doesn’t stay too long – after a night of women banding together over bottomless drinks, Anna sees Jane being murdered at the hands of an invisible assailant across the street. From then on, things get even more complicated (or will we say obviously) when Alistair and Ethan present an entirely different Jane Russell (Jennifer Jason Leigh) to the officers (one portrayed thoughtfully by Brian Tyree Henry) and urges Anna to take matters into her own hands.
“The Woman in the Window” goes to great lengths to interest the viewer in Anna’s struggle in order to prove the correctness of her version of the story. Soon you will be indulging in a familiar “hysterical slap of women” that no one will believe in who only superficially deals with real mental illnesses, suicidal tendencies and persistent family trauma. It would have been one thing if this suspect-rich crime movie had caused some chills and thrills. But between a ridiculous Halloween segment and ineffective jump fears, the script doesn’t offer much in the name of basic genre delights.
It wouldn’t be fun to spoil whether Anna is really crazy or whether Leigh is a “Single white woman“To the real Jane. But also not that “The Woman in the Window” ticking all the predictable boxes until it comes to an end that you can smell from a distance. At the very least, Wright eschews the monotonous, icy, blue-toned look that has sadly become a staple of this type of diet over the past decade. To fill the film with the elaborate visual sensibility that adorned many of his earlier images, such as:atonement” and “Anna KareninaIn his latest edition, the filmmaker almost defiantly uses colors, light tricks and reflections. His art are to be lifted Kevin Thompsons striking production design of silky curtains and candy-colored walls that impressively brings Anna’s house to life (it was supposedly built on a Brooklyn stage) and Bruno Delbonnels Gorgeous cinematography that ironically deserves treatment on the big screen. If only the film could deserve the best efforts of these artisans. [C-]
“The Woman in the Window” hits Netflix on May 14th.