Don't Look Now Reviews
Some months pass, and Laura and John are now in the process of renovating a church in Venice. Grieving the loss of a child is an experience that never really ends, but the two are at the point where crying at every waking moment is no longer an option - a permanent pang has settled in their stomachs, never leaving even when moving on sounds a regrettable paradise. We can see that the Baxters are still very much in love. But it's different, aching now. The labyrinthine design of Venice hardly lets them forget about the tumult at home.
The tug of the past pulls even harder one day, when, during lunch, a blind psychic (Hilary Mason) and her sister (Clelia Matania) cause a fuss in the restaurant, informing Laura that the source of the ruckus was due to the former's sighting of Christine. For the first time in what feels like years, Laura's incessant melancholy is replaced by bittersweet joy; John isn't so trustworthy. But when he begins experiencing strange premonitions himself, including visions of a little girl wearing a red raincoat similar to Christine's, he is forced to decode their meaning: are they yet another stage in his relentless grief, or is there something more ominous at play?
Nicolas Roeg's "Don't Look Now" is a horror film for the history books, at one moment a startling study of the effects of grief, in another a supernatural frightener that unsettles due to its lack of explanation. As viewers, we are inclined to track down missing pieces to the puzzle, especially perplexed by the twist ending that shocks just as much as it baffles. Roeg's direction is impressively cryptic, Christie and Sutherland's performances staggering in the way they are able to so convincingly appear as damaged people trying to recover from what made them so damaged in the first place.
But as much as I can appreciate the tremendous work done in "Don't Look Now," I appear to be one of the few immune to most of it - though the ending is surely one of my favorite moments in horror history, I found myself appreciative of the tension constructed but never actually moved by it. I attempt to reach out and empathize as much as I can - yet there's a feeling of inexplicable cold that I cannot grasp.
But "Don't Look Now" is too good a film to outright lambast; while I am not a member of the understandable cult that consistently announces it as one of the finest horror movies ever made, it is still a remarkable film. It turns the love scene into an art rather than a gratuity. It cements red as a recurring color of malevolence in film. It revolutionizes the plot twist. It is an important film - I just wish I could connect to it the same way so much of the population already does.
Saw this on 1/10/15
By no means a great suspense film or a frightening one either, but this horror film has the atmosphere and elements of a fine drama about a couple who just lost their child. Sutherland and Julie Christy give fine performance and the cinematography is fantastic. The music score, only if it's there for just 10 minutes maximum, is great. But once the film is over you would mostly feel deceived because the film on the whole means nothing at all.
The travel to Venice to move on & also design a local monastery & then they meet a physic who is able to communicate things very especially messages from their daughter.
A large part of the film is quite confusing but if you follow it, it unravels in time. The father begins following a young child in a red coast that leads to disastrous outcome.
After the death of you know who & they movie to Venice the scars of what happened to there daughter (because they neglected her) comes out, be it in a supernatural way, as is hinted in the film, but I suppose that could also be seen as a big metaphor for lose of a loved one in a family. But I like Ebert's idea, because it was written by a woman who may have grown up in a time when women were not treated as equal as men, he writes that it may be a way of saying men are more skeptical and dim or faithless then woman. The blind- psychic women and the newly converted Laura try to tell him to move on and forgive himself and if he didn't he would met his end; the ending with the creepy old red coat may have been the filmmakers attempt at showing he killed himself with John's hallucination or imagination. I did not really enjoy this film to vague for me. Films with a twist ending; you are either on it like a fly on horseshit or not at all and the film losted my attention. (I have short attention-span) It caught me back by the end, which is why I needed to read Ebert's review and do a little research before I go head long into writing that this film is shit because I cant pay attention. If I was to rate I would say three stars, maybe four. I definitely need to re-watch this in the near future.