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The Bedroom WindowRating:
Release Date: 11 July, 2000 Retail Price: $14.98 OUR Price: $13.48 You SAVE: $1.50! Cast: Complete Cast (11 total) |
The Bedroom Window Reviews
A TENSE-FILLED SUSPENSEFUL THRILLER!!!!!!!
I must say that this movie was very good and intelligently written. It does a great job at keeping you guessing what will happen next!!! It has an atmospheric style to it and it delivers the goods!
If you haven't seen this movie, please do!!!
This film was originally released in 1987 and it still holds it's own today!!!!
This movie was exceptional and I am glad that I came across it!!!!
In the style of Alfred Hitchcock, Director/Writer Curtis Hanson has given us this film classic!!!
This is great entertainment that is sure to keep you on the edge of your seat!!!
Master trumped by apprentice.
This will probably be the only movie starring Steve Guttenberg that I'll give 5 stars to, so listen up. OK, that was a little harsh. Actually, Steve's tolerable here. He plays a yuppie who commences an affair with his boss's wife (Isabelle Huppert). While a yuppie probably isn't out of his range, French beauty Isabelle Huppert IS . . . but then, in Hitch's *Rear Window*, Grace Kelly was way out of Jimmy Stewart's league. Guttenberg, over and beyond his short-lived bankability in the mid-80's, was clearly a deliberate casting choice by director Curtis Hanson: he's a perfect Everyday Shmo that we can "identify" with, like Stewart's rubes used to be (before the country stopped being so corny). *The Bedroom Window* imitates Hitchcock in more ways than merely casting and the title. It "homages" the Master in the best way: by fashioning an exceedingly clever plot that compares favorably, in many cases MORE favorably, quite frankly, with Hitchock's narrative contrivances. The plot strands get SO involved that it's hardly worth trying to recount them; it's easier to just recommend the movie. *The Bedroom Window* is nothing less than a formally perfect imitation of elements in Hitchcock's best films. Even Guttenberg's perky acting ("I wanna turn myself in!" he chirps on the phone to the cops after he's on the run) is reminiscent of Cary Grant's smirking aplomb in the face of Kafka-esque bad luck in *North By Northwest*. And Elizabeth McGovern's disguise late in the movie recalls Kim Novak transforming physically for the sake of some guy's lust in *Vertigo*. Having said all this, you might be asking, "Why not just watch Hitchcock?" It's the perfect question for Gus Van Zant's pointless, unimaginative, frame-for-frame re-make of *Psycho*. But Hanson brings rancid new things to this genre that Hitchcock tended to avoid, things like individual culpability, black serendipity, and the notion that Doing the Right Thing can backfire on you if you're a compromised person . . . and who isn't? These themes, straight out of novelist Patricia Highsmith's work, provide chocolate for Hitchock's peanut butter. What can I say -- I like Reese's.
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