Don't Look Now Reviews
I cannot see this movie as anything other than art house as Roeg's directing has me convinced he believes he's the most clever guy in the room. I kept waiting for the scary moments to happen, but all I got were continuous random edits that made me wonder why the hell they were ever included in the movie to begin with. It's as if they wanted to fill time so they included whatever the hell the cinematographer's camera landed on after he spun the thing around. Picture this is you will, Imagine an attempt at building a sense of tension by having a conversation between Julie Christie and Donald Sutherland. In this conversation, Sutherland gets angered at Christie's belief that the two creepy old women (and they are creepy) can see his dead daughter. They talk, she tries to get him to understand, he gets angry, they talk, he gets angry again, then out of nowhere the camera close ups on a tea kettle! Why? WHY!?!?! These edits have no place in the movie and they do nothing to further the story, all they wind up doing is confusing the person watching the movie!
I had to force myself to finish watching, and I watched the whole thing because I believed it had to get scary at some point. Nope. A few minutes left in the movie I realized I had been a patsy to one of the greatest movie cons of all time.
Oh, and **SPOILER ALERT** having a little person be the murderer at the end was about as out there as it gets. At no point in the story does it ever allude to this uber creepy person being under suspicion! Nope, instead it was added as though at a meeting everyone realized they'd thrown together almost 100 minutes or random crap and needed an ending...Oh let's have a "midget" be the killer! Yeah! Beautiful! Print it.
I'm no cinephile but I like to think I know a decent movie, and this isn't one. Steer clear of this one unless you want to scratch your head for an hour after you've finished watching, all the while wondering what the hell!!!!!
Donald Sutherland seems to have this thing for constant chase sequences on foot. I felt like this had signs of a Italian Invasion of the Body Snatchers. I guess the film is touching. It starts off crazy. It has a pot of awkward '70s piano and quick memory cuts, they get annoying. The end of the film is poorly done, it just seemed weird.
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.