wrote the first draft of the screenplay! The film’s deep pedigree gave it a promise that endured amid news of a troubled production, myriad delays, and the grim implications of 20th Century unloading the film onto Netflix.
Even if it was bad, it could still be fun: a glorious, feverish, trashy mess about Amy Adams going mad in a Manhattan mansion, surrounded by wine bottles. That would be a nice alternative to the relentless parade of franchise films, a grownup, if slightly tawdry, thriller like they used to make in the 1990s.
But, alas, the movie is a pallid, dull slog of bad acting and worse storytelling. Adams plays an agoraphobic doctor, Anna Fox, who spends her days taking meds, drinking copious amounts of wine, and staring out the window of her Harlem townhouse. She becomes increasingly fixated on the goings-on of her new across-the-street neighbors, having enjoyed a boozy night of bonding with’s Jane Russell, and then believing she’s seen her murdered.
The story is a muddle, clunkily paced and building toward an entirely unearned twist reveal. The goal here was to evoke, among other films, the Hitchcock classic, but Wright can’t muster any of that film’s claustrophobic tension. He’s too busy drenching everything in garish color and letting his camera admire Anna’s stately home. No matter what the film looked like, though, I suspect it couldn’t escape the muck of Mallory’s narrative.
In that way, I can relate to Anna Fox. It’s hard not to obsess at least a little bit over whatever energy Moore is grooving on, and then go chasing after its ghost while everything around you collapses into ruin. There’s nothing else inworth caring about. It’s a boondoggle we probably should have seen coming.
Some YouTube critics ranked it 4/5
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