The acting and the scene direction have a delicate, organic feel that is stomped all over by the narration and noise.
| Original Score: 3/5
A gripping, Hitchcockian marital thriller with the added value of a score by Ludvig van Beethoven himself
| Original Score: 4/5
It's actually pretty watchable thanks to a demented turn from Huston, a terrifyingly tense final act and, shall we say, a 'committed' performance from Liz.
It may ultimately lack subtlety, but it peers into the hearts and minds of its two weird protagonists with some skill.
It's a model of low-budget candour and bite.
Bold, brilliant and exhilarating: an intimately horrible, sexually explicit and black-comic portrait of a toxic marriage.
Intense, if inconsistent.
The occasionally rough hand-held camerawork and the non-linear structure add to the sense of nervous tension that vibrates in the film like a static charge.
Rohm brings subtlety to her role but Edgar's paranoia dominates, giving the hammy Huston too much room to over-cook this thin tragedy.
| Original Score: 2/5
It's all overwrought and unpersuasive.
The shlock-therapy emotional buttons are pushed one after another.
| Original Score: 1/5
The only thing I wanted Huston to take off were the bling shades he wears inside, while the muffled dialogue, out-of-focus camerawork and slow pace had me thinking about abstaining from movie-going.
It's consistently and coldly erotic, and omits Tolstoy's cranky ideas on marriage and sexual abstinence without putting anything comparable in their place.
The shark-grinned Huston can be a charismatic presence, but this particular performance has no kind of aura.
Shocking as the ending is, it's fudged, too.