Don't Look Now - Movie Reviews - Rotten Tomatoes

Don't Look Now Reviews

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April 13, 2016
Mr. Sutherland and Ms. Christie convey the profound heartache their characters feel, even as the slow-burning tension becomes more and more frightening and the images become more and more nightmarish.
April 10, 2016
It has stood the test of time well, continuing to be scary and, for new viewers, unpredictable. However, Don't Look Now largely succeeds on its technical brilliance combining unique editing with unsettling camerawork, making for an unforgettable experience.
½ February 9, 2016
A bit of a slow start but all,worth it in the end.
January 22, 2016
Dated suspense/horror film. The idea is there, just has such a cliche 70s feel. Found myself cracking up from the get-go: the opening scene of him yelling "NOOOOOOO" while holding his dead daughter in the pond; while he was dangling from the scaffolding after almost falling to his death in the church; the quick shots of the old ladies cackling, thrown in between shots of Sutherland and his wife; the sex scene!? Oh my god, that sex scene! hahahaha!!! I DID NOT need to see Sutherland having his toes kissed. I will say that the ending and the "payoff" was cool. Just took too long to get there. And the film did have me thrown off for a while. Only after a second viewing did I realize that everything was related to his "seeing" abilities. But, like I already said, took too long to get there. This could have easily been a 90 minute feature. I guess when it first came out it was breathtaking, but then again everyone said the same about the Sixth Sense, another overrated suspense with a cheap "surprise" at the end.
December 14, 2015
After seeing so many glowing reviews on this movie, I had to watch it for myself. Being included in so many "Best Horror Movies of All Time" lists, I figured that it would have me sitting in my chair with my head buried in a pillow. What happened however was anything but. Instead of chills, creepy feelings and that feeling of utter dread that stays with you after a particularly scary movie, I found myself confused and bewildered, wondering more if the "Horror " in this movie was whether my head was going to explode from the random editing style and weird disjointed directing.
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!!!!!
November 16, 2015
Uma aula de narrativa, a partir de uma edição esmerada. Uma obra-prima do horror.
½ November 10, 2015
With an honest naturalistic depiction of grief from Donald Sutherland and Julie Christie, dream-like associative editing where past, present and future co-mingle and haunting imagery, Don't Look Now is an entrancing experience in gothic horror.
½ November 10, 2015
IN A NUTSHELL it's a story about a couple who are struggling to come to terms with the sudden loss of their daughter, and whilst away in Venice meet a couple of elderly women, one of whom claims to be psychic and can see their dead child. I like this movie as it's not just about blood and guts, it makes you think. It's more than just a horror film but a story of grieving for the loss of a loved one, and how it can affect people differently. The couple are played by Donald Sutherland and Julie Christie, and the backdrop is the stunning (and when the mood in the film changes very haunting) Italian city of Venice. The old ladies they meet are as creepy as can be and you really feel the deep sorrow hanging over our protagonists. With a shock twist ending that stays with you long after viewing this one is regarded as a horror classic, if you haven't already, get it watched.
November 3, 2015
It winds through a rather unpredictable plot, full of red herrings and strange coincidences, all the while being quite unnerving.
October 31, 2015
Had high expectations for this. Not bad but not as "impactful" as the reviews had indicated. Compare it to The Wicker Man from the same year - this comes up short.
½ October 29, 2015
Apparently I forgot to review this when I watched it, probably because I missed the confusing ending. I don't know, the story is so all-over the place. I don't even know what they were trying to get at this plot. Is this a mystery drama? Is this a love story? The sex scene is so well known that people thought it was real. Well, the female actress is simply beautiful. I don't really get it.

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.
October 28, 2015
Don't Look Now never really clicked for me the previous times I saw it. However there is clearly a reason I keep returning to it. The genuine depth of the characters is probably the main reason. There are subtle hints at the danger that faces them throughout. So subtle im fact that they make the audience second-guess events as the unfold. We know only as much as Sutherland's long suffering protagonist, John, does. There is a constant intrigue that leads to the exciting finale. Don't Look Now is ultimately a heartfelt film about the effects of personal loss.
½ October 15, 2015
There once was a time during which Laura (Julie Christie) and John Baxter (Donald Sutherland) were part of a blissful family, the parents of two darling little kids, the owners of a stunning country home, a prime example of a marriage gone right. But tragedy, like comedy, can enter one's home without knocking on the front door first: upon one misty Sunday afternoon, quiet, relaxing hours are turned into precursors of horror when the Baxters' elementary-aged daughter, Christine (Sharon Williams), attempts to fetch the ball she dropped in the backyard's pond only to slip and, without warning, drown. The bliss is now laced with fury; the two darling little kids are now one; the country home is now a place of trauma; and the marriage, once full of laughter and effortless comfort, though still intact, is very evidently now creased around the edges.
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.
½ October 3, 2015
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.
August 14, 2015
A very tense & unusual film about a grieving couple after loosing their daughter to a water drowning accident.

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.
August 4, 2015
Nicolas Roeg's iconic film is a surreal horror movie about grief, guilt and love. It is about seeing and not being able to see all at once. Brilliant from every single aspect and perspective.
½ July 10, 2015
Nothing happens till the last 20 minutes. Might require a second viewing, but the first viewing was slow and confusing. Definitely not a horror film.
½ June 30, 2015
"Don't Look Now" is a very effective horror film; which instead of monsters and gore uses grief, unsettling imagery, a unique melding of time, and the location of Venice itself to create a very unique, subtle form of dread in the viewer.
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