The Woman in the Window


Amy Adams peers out into a frightening world.

(2021) Thriller (20th Century Fox) Amy Adams, Fred Hechinger, Gary Oldman, Julianne Moore, Jennifer Jason Leigh, Wyatt Russell, Brian Tyree Henry, Jeanine Serralles, Anthony Mackie, Mariah Bozeman, Daymien Valentino, Anna Cameron (voice), Myers Bartlett (voice), Haven Burton (voice), Ben Davis (voice), Blake Morris (voice), Liza Colón-Zayas, Tracy Letts, Gigi Jones. Directed by Joe Wright

 

Some movies are so completely original you go through every scene realizing you are watching something fresh and new. Others are so derivative that you carry with you a sense of déjà vu throughout the film, whether you want to or not.

In this adaptation of a bestselling thriller by A.J. Finn (the nom de plume of Dan Mallory, who has had a checkered past as detailed in this article in The New Yorker), Dr. Anna Fox (Adams) is suffering from severe agoraphobia. She spends most of her day in a tony New York brownstone washing down her meds with generous portions of wine. She peers out of her window at the brownstone across the street and through her observations becomes acquainted with the Russell family. Son Ethan (Hechinger) comes over to introduce himself and is awkwardly sweet; his mother Jane (Moore) comes over and commiserates over even more wine with Anna. The only member of the family she doesn’t like is the bullying father (Oldman) who would just as soon she had no interaction with his family.

When she witnesses Jane apparently getting murdered, she is horrified and calls the police, only to discover that Jane isn’t dead – but Jane isn’t Jane either. Instead, another woman (Leigh) shows up and is introduced as Jane. The kindly but disbelieving police detective (Henry) is understanding, given that Dr. Fox has psychological problems; is she really going mad, or is there something terrible afoot?

This movie has been cobbled together from elements of other far better movies, including Rear Window (a clip from which they brazenly show early on in the film), Gaslight and Gone Girl to certain extents. The plot twists, when they come, aren’t particularly jaw-dropping. Most of them are fairly easy to spot.

And that’s a shame because there is an awful lot of talent here both in front of and behind the camera. While Adams acquits herself reasonably well (as does Henry), actors the caliber of Moore, Leigh, Oldman and Anthony Mackie (in a role as Anna’s ex-husband) are largely wasted. Given the convoluted plot, the preposterous eye-rolling plot twists and a director in Joe Wright who should know better, having directed some pretty stellar, Oscar-worthy pictures in the past, there really isn’t much to recommend this film other than morbid curiosity, given the movie’s production issues which led to reshoots that delayed the film for two years before it was pawned off on Netflix finally.

REASONS TO SEE: Adams tackles a different kind of role for her and ends up doing a respectable job.
REASONS TO AVOID: An uninteresting derivation of Hitchcock.
FAMILY VALUES: There is violence and profanity.
TRIVIAL PURSUIT: This is the first film by screenwriter Tracy Letts that is an adaptation of another work (in this case, a novel by A.J. Finn); Letts also appears in the film as Dr. Landy. Incidentally, this is also the final movie to be made by the Fox 2000 imprint; Disney shuttered the production studio following their merger with 20th Century Fox.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 7/14/21: Rotten Tomatoes: 25% positive reviews; Metacritic: 41/100.
COMPARISON SHOPPING: Rear Window
FINAL RATING: 5/10
NEXT:
Girl Next

Kindred


No rest for the weary.

(2020) Thriller (IFC) Tamara Lawrence, Fiona Shaw, Jack Lowden, Anton Lasser, Edward Holcroft, Kiran Sonia Sawar, Natalia Kostrzewa, Chloe Pirrie, Nyree Yergainharsian, Toyah Frantzen. Directed by Joe Marcantonio

 

John Lennon once wrote, quite accurately, that life is what happens while we’re busy making plans. In other words, plan away, but life happens no matter what your intentions are.

Ben (Holcroft), an English veterinarian, and his black Girlfriend Charlotte (Lawrence) have plans to move to Australia. Why? Likely because it’s about as far as they can get from Ben’s rabidly possessive mother Margaret (Shaw) and Ben’s super-creepy stepbrother Thomas (Lowden). When they go to lunch  at the crumbling estate where Margaret and Thomas live and where nine generations of Ben’s family has resided, breaking the news of their impending move doesn’t go well, to say the least.

However, their decision to move is put on hold when it is discovered that Charlotte is pregnant with a baby she doesn’t want. She tells Ben emphatically that she’s not ready to be a mother and doesn’t want to jeopardize their plans. Unfortunately, that all becomes moot when Ben perishes suddenly.

Margaret – who has been informed of Charlotte’s delicate condition by her doctor (Lasser), suddenly aims to be mother of the year, taking Charlotte in to live on the estate. But then, slowly, it becomes apparent that Charlotte won’t be permitted to leave and that Thomas may be drugging her to insure that she doesn’t. Margaret, you see, needs to have an heir to take over the estate and Thomas isn’t a blood relative. As Charlotte is beset by nightmares and images of ravens, she realizes that she is in a very dangerous situation that she must escape from quickly.

I think this is a movie that the filmmakers started out with honorable intentions, but along the way they got distracted. The pacing is slow and methodical which some thrillers can be in an attempt to build suspense; however, the payoff should then be a roller coaster ride and frankly, the climax here isn’t payoff enough. There are some interesting potential subplots going on here – the racial aspects, the supernatural aspects of the ravens, the gaslighting done by Margaret and Thomas, family madness running in Charlotte’s family, but none of these go anywhere. I thought at one point that the filmmakers were going for a metaphor of the control of a woman’s body by external forces, but that doesn’t pan out either.

What does work is Lawrence’s performance which ranks right up there with that of Daniel Kaluuya in Get Out, which this film shares some parallel themes with. Her facial expressions are absolutely priceless throughout, as is her body language as new life grows within her character. She also gets the usually reliable Shaw to play off of, although Shaw is curiously overplaying her role here. It’s not one of the better performances by the veteran actress.

I get the sense that the filmmakers were going for something of a mash-up, but one of the pitfalls of doing one of those types of films is that it can end up being neither fish nor fowl, not enough of any one genre to really suck in fans of that genre. Horror fans will be disappointed, thriller fans are likely to be unimpressed and drama fans are not going to really connect. So you have a movie that combines genres but omits the best elements of each. Lawrence is the real attraction here; she is certainly a name to keep an eye out in the next few years.

REASONS TO SEE: Lawrence gives a truly dazzling performance.
REASONS TO AVOID: The film builds very slowly and gets bogged down in soap opera-esque plot twists.
FAMILY VALUES: There is profanity and violence.
TRIVIAL PURSUIT: This is the feature film debut for both director Joe Marcantonio and his co-writer Jason MacColgan.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 11/7/20: Rotten Tomatoes: 67% positive reviews Metacritic: 53/100
COMPARISON SHOPPING: Rosemary’s Baby
FINAL RATING: 5/10
NEXT:
Narco Warriors