Woman at the window, 2021.
Directed by Joe Wright.
Starring Amy Adams, Gary Oldman, Julianne Moore, Anthony Mackie, Brian Tyree Henry, Jennifer Jason Leigh, Fred Hechinger, Wyatt Russell, Jeanine Serralles, Mariah Bozeman, Liza Colón-Zayas, Anna Cameron and Tracy Letts.
An agoraphobic woman living alone in New York is spying on her new neighbors just to witness disturbing violence.
As director and screenwriter, Joe Wright and Tracy Letts (the latter typically adapting the performing arts) are still unpredictable. One alternating between episodes and thrillers (and what the hell Pan was), while the other does not appear to have a recommended cab. The fact that they are cooperating Woman at the window (a psychological thriller on the vein of Alfred Hitchcock Rear window, based on AJ Finn ‘s book) alone is fascinating enough to watch. You have a filmmaker who is well versed in visual language and style and works with a playwright (who adapted Killer Joe) to give mania and mysterious madness theatricality. Not to mention, some of today’s most talented actors are in front of the camera.
Still, after seeing and thinking about it, I still can’t decide Woman at the window there is a huge failed fire for most participants or a clever roundabout way to express that people with mental illness still deserve to believe, even if something sounds too ridiculous to be true. This is especially true when that person can point to objects and situations that show that some version of the truth is being told. In some respects, it is reminiscent of last year’s incredible Invisible Man and shocking ways in which people immediately ignore someone’s words that they consider crazy. The message gets in the trash, but at least Woman at the window is an entertaining schlock with little intent. It’s also occasionally so fetched and ridiculous that, depending on the viewers, the good intentions of its subjects may evaporate when the bonkers ’third show begins.
Backed up, Amy Adams is Anna Fox, a former child psychologist with agoraphobia in the hands of such a serious tragedy that all the air is sucked out of the room when her own psychologist Karl (Tracy Letts) doesn’t accept her as contempt for herself. humor fresh from a suicide attempt. What happened now, Anna has divorced her husband and daughter (Anthony Mackie and Mariah Bozeman), living alone in a dim and dirty home, walking often confused and tidy. Think of it as Amy Adams ’physical change in Hillbilly Miegy but low-key and without a southern accent. More specifically, Anna has an advanced way to spy on her neighbors who live in another apartment building on the street.
This includes several people, including religious types, aspiring musicians, and a new family of families, the Russells. She occasionally talks to her husband over the phone, but for the most part, Anna is deeply depressed about anxiety disorder and constantly changes medications. He is also sometimes paranoid, given the impression that his psychologist is proposing a special medication to make it easier for him to manage. His fears of external interaction are so deep that he resists when his tenant David (playing with a hot head and exceptionally unlikely characters, Wyatt Russell) fails to persuade him to at least leave the candy outside. Let him blame the first child for stealing it all, which shows that cynicism now takes up space in his mind.
However, Anna is open to personal companionship, especially when the Russell family introduces themselves one by one. First, sensitive and possibly spectrum teenager Ethan (Fred Hechinger) drops the gift. Then the family’s matriarch Jane comes to get to know each other, and inevitably starts a conversation about parenting under the influence of wine. Finally, the inappropriate Alistair (another late-ended Gary Oldman performance that screams through at high volume, albeit one that works here somewhat) asks if his wife or son has stopped. It has also been found that the family is living in turbulent times and that Alastair is likely to be an abuser. If nothing else, Anna is convinced that Ethan could use some kind of pediatric therapy.
And then late one night while drinking, dropping pills, and spending a snowball with her white cat Punch (who often doesn’t want to be around her), Anna is curious and gets a glimpse of Jane being stabbed and leaked out. He also faintly faints outside running, trying to save Jane, but woke back to his home surrounded by a pair of detectives played by Brian Tyree Henry and Jeanine Serralles. They don’t believe his story, and they also have good reason not to do so. Although now Jennifer Jason Leigh played rather than Julianne Moore on stage where they spend a moment, Jane is somehow still alive and present.
From here, Woman at the window comes into play to reveal what is really going on, all while the above are looking to reject all physical evidence. The reason for one who plays with Anna’s trauma, woven and revealed during the central sequence, with elegant bloom and not a general rewind. It’s easily the strongest segment of the film, given that it allows Amy Adams to evoke emotion. There may not be nuances to the roles, but the Actors will surely breathe life into this twisted and twisted story. Basically, Anna has to stick to her intuition that Ethan is in danger, which is made clear in her interaction with Alastair.
Unfortunately, when the story is ready to tie everything together, it’s hard to think that Anna’s character arc is perfect. Even during the epilogy, the aftermath seems unlearned, as if certain aspects of mental health were always ex post. Then there is the truth about what happens, which is sometimes ridiculous and awful, but mostly unlikely and stupid. The opening of the film also makes portions of the showdown itself openly predictable, focusing on key areas of the home. When things get confusing, you just have to wait until the characters get to a certain place.
A brazen mystery Woman at the window will surely satisfy anyone with a Netflix account who can’t decide what to watch late on the weekend night by choosing a disposable thriller; the streaming service bought this from Disney / Fox. It’s just hard to look past the errors of characterization and not go back to sensing the loss of the finer details of the novel in favor of focusing on a broader appeal. It would also be dishonest to say I didn’t have fun watching Woman at the window. Intentionally or not, the case has not been removed from the serious concerns of the mentally ill.
Flickering myth rating – Movie: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also a Flickering Myth review editor. Check here For new reviews, follow mine Twitter or Letterboxdor send an email to [email protected]