Body Double - Movie Reviews - Rotten Tomatoes

Body Double Reviews

Page 2 of 23
½ September 21, 2015
A well-crafted, sleazy love letter to Hitchcock (most obviously Rear Window and Vertigo). Too bad it takes a page from the worst part of Psycho and buries its reveal in exposition. Harrowing sequences, enchanting virtuoso camerawork, and hypnotic score keep that from detracting too much.
August 15, 2015
Un homenaje directo a Vértigo y La Ventana Indiscreta de Hitchcock pero con un toque muy al estilo de Brian de Palma. Uno de sus filmes menos conocidos, aún así no deja de ser un material bien cuidado, puntual en la forma que narra la historia, utilizando un lenguaje erótico directo en algunas ocasiones , en otra más sutil ( sobre todo en cuestión de las perversiones ) . Un sexy thirller con toques humorísticos e incluso surrealistas que podrían no ser del gusto de todos pero aún así es un logro más dentro dela filmografía del director, que como es costumbre en él, la polémica podría estar justo cuando aparecen los créditos de cierre de la película. Vale la pena descubrirla.
July 28, 2015
For a while I wasn't completely enjoying this, I liked it but wasn't that into it and kinda thought it was just a Rear Window rip off. But man was I wrong, this really started to get great around the last 40 min. Overall I would call it really good but I might consider the whole movie great if I watch it again, rather than just the last 40ish minutes.
June 16, 2015
The man is such a fool I didn't enjoy the film.
February 17, 2015
A really bizarre thriller; DePalma proves yet again that he's a master of his craft.
½ February 6, 2015
After the success of Scarface (1983), Brian De Palma's next film would see him back doing another full-blown homage to his hero Alfred Hitchcock. While his previous films like Obsession (1976), Dressed to Kill (1980) and Blow Out (1981) had knowing nods and winks to Hitchcock's style of directing, this was his most explicit and personal tribute to date. While the story is a bit ropey, the way it's made is brilliant. Jobbing actor Jake Scully (Craig Wasson) lost a role as a vampire in a corny horror film due to suffering from claustrophobia, and he's homeless as his girlfriend has been cheating on him. He meets actor Sam Bouchard (Gregg Henry), who feels sorry for him, and the two strike up a friendship. Sam asks Jake to watch a house in the Hollywood hills for a friend who's out of town. Jake agrees, and while there, he finds himself spying on a neighbour Gloria Revelle (Deborah Shelton) through a telescope. However, he witnesses Gloria getting killed by a disfigured Indian, and is under suspicion. Jake goes undercover with porn actress Holly Body (Melanie Griffith) to catch the killer. It's a very silly film, mixing together the best bits of Rear Window (1954) and Vertigo (1957) to make the ultimate tale of obsession and voyeurism. However, De Palma has fun with the set up's and the suspense, and there are some good set pieces, like the rendition of Frankie Goes to Hollywood's "Relax on the set of a porn film.
January 20, 2015
Mixtura de generos , el cine habla sobre el cine , mucho suspense hitchcokniano , un gran trabajo de Depalma
January 10, 2015
This represents everything wrong with Hollywood. Women's acting constitutes ridiculous poses, preening and arching for the male gaze. The "femme fatale" tries on underwear multiple times and is kiss-raped by the "protagonist" stalker-voyeur. Lest that be the end of it, hooker porn star Melanie Griffith arrives to remind us that women are good for showing their tits, grabbing crotches and reaching orgasm. The idea that this was ever "serious" is insane and should only be viewed as Midnight Movie fare.
January 8, 2015
"Look," a movie director (Dennis Franz) frankly says to his leading actor, Jake Scully (Craig Wasson). "I got a picture to make here. I got 25 days to make it. I have no time to wait around for a claustrophobic vampire who freezes every time he lays down in a coffin."
Scully is a young, struggling actor, good-looking, nice enough, but just passable when it comes to star power. He has landed a leading role as a vampire, true, but it's only a B-picture. One can hope for the best as he dons gaudy, glittery eye makeup and a pair of fangs that makes Bela Lugosi seem like a Dardenne Brothers figure. His staggering claustrophobia only makes things worse.
As his professional life limps along, things only get worse when Scully discovers his girlfriend in bed with another man, which, in response, leave him homeless and alone. A fellow actor (Gregg Henry) offers him the chance to stay at his house for a few days, a house of fiendish tackiness that sits on top of a hill and looks like the Seattle Space Needle had a baby with a spaceship. Across the way is a mansion inhabited by a stunningly beautiful woman (Deborah Shelton) - Scully is able to watch her undress as his friend has equipped a telescope overlooking the balcony.
If you've had a filling serving of Alfred Hitchcock movies, I'm sure you can only guess where the film is going. "Body Double" is "Rear Window" junior and "Vertigo" the second, except with a lot more blood, sex, nudity, and enough tawdriness to top off a jumbo sized popcorn bin. One night, as Scully peeps on his new neighbor performing her nightly striptease, he notices a deformed looking man perched on the satellite dish in front of her home, watching her with a murderous thirst in his eyes. Skip to a few days later, the woman is brutally murdered in her bedroom, with Scully as the sole witness. The police (of course) laugh at him, passing him off as a paranoid pervert. But his neighbor's death leads him to a number of startling discoveries, the most shocking turning toward the world of pornography, where he enlists the help of actress Holly Body (Melanie Griffith) to find out the truth in the bizarre slaughter.
Hitchcock had a fascination with hot blondes, armed-and-dangerous camera angles, and ever-present danger. Brian De Palma, billed as the Master of the Macabre in his heyday, likes all that, but he doesn't want to turn himself into a carbon copy of cinema's most predominant suspense filmmaker. De Palma's own "Dressed to Kill," "Sisters," and "Blow Out" (let's stop talking about "Carrie" and "Scarface" for a minute) were jaw-dropping in their stylistic dexterity, their stories borderline ridiculous yet efficient when connected with such electric visuals.
"Body Double" is no different, even if it is sillier than some of De Palma's other efforts (which is saying something, considering "Dressed to Kill" gave the then 49-year old Angie Dickinson a blatantly obvious 20-something year-old body double, put Michael Caine in drag, and ended with a was that all just a dream? startler). The plot twists are sometimes inane, and sometimes too coincidental to truly be stunning, but De Palma is so self-assured that it isn't hard to make us want to just go with it.
I have been purposefully vague when retelling plot points because so much of the film's success lies in its slimy thrills, but the style is something worth noting - "Body Double" shows the director at his optical peak. Early in the film, Scully, sensing his neighbor is in trouble, follows her to a Los Angeles mall, her actual soon-to-be attacker lurking in every nook and cranny. In the past, De Palma has payed great attention to split-screens and close-ups, but the entire sequence is notable for its remarkable combination of voyeurism and open space. There are three buzz characters moving around the complex all at once, with the camera sometimes peering onto them from above, most impressively when they walk on different floors. Without much dialogue to back it up, the scene rattles with tension. Will danger catch up in this game of cat-and-mouse?
There are even more visual kicks (particularly the simultaneously laughable yet hugely ingenious moment where Scully and his neighbor run into each other, after he's been following her around for hours, embrace in fiery passion, the camera spinning around them with merry-go-round delirium), but the theme of voyeurism in "Body Double" is what makes the film such a wild experience. It's almost always uncomfortable - in every scene, you feel as if you shouldn't be there, as if you're intruding on something deeply private. The storyline may not always be strong (or even truly believable), but "Body Double" is about style, tone and mood. In that sense, it's more than convincing.
January 3, 2015
Classic DePalma. The man is a master craftsmen. Love his work
½ November 9, 2014
super clever and good. loved basically every minute. i had to read up about the ending because it confused me a bit, but upon discovering clarification (and rewatching the key moments), i found myself appreciating the film even more. i really enjoyed the score too.
Super Reviewer
½ November 6, 2014
Well, I think it's fair to say I have never screamed at characters more in a movie than I did watching this! Those scenes where Jake was "stalking" Gloria - bloody hell, so obvious. Then came the point mid movie where I felt like I was watching a whole different movie and couldn't understand what the hell was going on.
Highly original and it did tie up at the end.
Suspense and 80's tackiness all thrown into one movie. Right in my element with this one. And extra half star for the appearance of Holly Johnson.
How had I never seen this one before!
September 24, 2014
Solid thriller, weak leading man, DePalma might be over doing it on the Hitchcock/Vertigo/Rear Window references.
June 26, 2014
This movie has so many problems. First, it features about every cliché you could think of for a mystery/thriller. Second, the title gives away the twist. Third, all the actors do a terrible job. Fourth, there are so many unnecessary scenes that are just gratuitous for the sake of being gratuitous. Fifth, it copies plenty of stuff from Hitchcock movies. Sixth, the script is terrible. Seventh, the ending is terrible. Eighth, the direction is terrible. Everything went wrong with this movie, and while it tries to be suspenseful, it only makes itself more predictable and laughable. Half a star.
June 20, 2014
Classic DePalma thriller. Shelton and Griffith are stunning.
½ June 3, 2014
Pretty amazing till that crappy ending ruined it.
May 16, 2014
What on earth made the Oscar evade De Palma for signature masterpiece ?
Some events relating to academy awards never add up !

As a movie it filled with endless suspense and portraits are magnificent by leading characters.
½ April 23, 2014
The elements of voyeurism and mystery are captivating, but once the film turns to sex and violence, I was turned off.
½ April 12, 2014
Director Brian De Palma is not for all tastes and this film is probably his most divisive (and sleaziest) film. Re-watchig this film now, I was really surprised how stylistically unchanged De Palma is years later. I love his filmmaking sensibility, and there really isn't anyone, now or then, making films like him. He was always knocked as being a Hitchcock imitator, but I think they merely shared the same obsessions and penchant for genre suspense films. Stylistically, De Palma films are very mannered and fully embrace the artifice of film, unconcerned with making a realistic film, much the same at Hitchcock, but De Palma and Hitchcock films visually look very different. De Palma is merely filming the same obsessions as Hitchcock in a very different and original manner. But to this film in particular, De Palma is clearly borrowing from "Rear Window," much the same way he borrowed from "Vertigo" for his film "Obsession," but outside of the set up and some similar themes around voyeurism and repressed sexuality, this film is really his own. Craig Wasson is a struggling actor who house sits in an upscale home for a friend and witnesses the murder of his gorgeous neighbor. However, and much different from "Rear Window," Wasson begins to suspect he was set up to purposefully witness the murder. Melanie Griffith appears in the film as a adult film actress, Gregg Henry plays the friend, and Dennis Franz plays a horror film director, who Franz said he based upon De Palma. Barbara Crampton and Steven Bauer also appear in small bit parts. I remember seeing this film as a kid and remember being blown away by the dirtiness of the film and also terrified by the murder scene Wasson witnesses (the drill through the ceiling!) and it still hold up in those respects. Although it's a pretty sleazy film, and arguably unnecessarily so, De Palma has some terrifically suspenseful set pieces, wild visuals (particularly the claustrophobic scenes with Wasson), terrific photography by Stephen H. Burum and a gorgeous score by composer Pino Donaggio. Again, this film is not for all tastes, but if you want a suspenseful and 1980s style sleaze, this is the film for you!
Page 2 of 23