Sorry, Wrong Number - Movie Reviews - Rotten Tomatoes

Sorry, Wrong Number Reviews

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January 2, 2008
Number derives sleek hysteria from its audaciously constraining narrative strategy.
January 2, 2008
Both Lancaster and Stanwyck are excellent.
Full Review | Original Score: 4/4
November 4, 2007
Anatole Litvak's taut, gripping, highly stylized noir, based a 22 minute radio play with Agnes Moorehead, is one of the genre's very best, with a bed-ridden Stanwyck in a tour de force performance--a case study for lover of film noir.
Full Review | Original Score: B+
Top Critic
June 24, 2006
Stanwyck's metamorphosis from indolence to hysteria is brilliantly executed.
September 30, 2005
dark and terrifying
| Original Score: 3/5
July 22, 2005
Vintage suspense with terrific Stanwyck, Lancaster
Read More | Original Score: 4/5
January 15, 2005
Fletcher adapted her celebrated 22-minute, single-character radio play into an almost equally tense screenplay, still retaining many of the eerie sound effects.
November 6, 2004
The film’s basic premise is just too compelling to resist.
| Original Score: 4/5
October 12, 2004
| Original Score: 4/5
October 7, 2004
A bit drawn-out, but a sensational vehicle for Stanwyck's talents
| Original Score: 4/5
March 16, 2004
It is a carefully plotted film that leads to an extraordinary ironic climax.
Full Review | Original Score: 75/100
July 22, 2003
A good script, but it should have been filmed with the woman who made it famous on the stage, Agnes Moorehead.
| Original Score: 3/5
March 10, 2003
[A] taut thriller.
December 11, 2002
Effective suspense film.
| Original Score: 4/5
October 30, 2002
Read More | Original Score: 3/5
October 4, 2002
| Original Score: 4/5
January 1, 2000
The European émigré director, Anton Litvak, shoots Stanwyck's bedroom as if it were a luxury prison.
Full Review | Original Score: B
January 1, 2000
A precursor to the far better Rear Window, but noir has seen better days.
| Original Score: 3/5
October 10, 2008
Stanwyck was too strong to play this simpering role.
January 2, 2008
To make a movie of Lucille Fletcher's classic radio play was really to betray its best idea: that sound, not sight, is the truly paranoid sense.
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