There's so much that's great in WLB. The moody noir photography, and Alan Silvestri's appropriate musical score with those ethereal choral touches ... greatness.
But there's really no room in quality film for that cheap, ages-old adolescent shock device of a disembodied hand emerging from offscreen onto the unsuspecting shoulder of our heroine who gasps and does a 180° whirl only to see ... her loving-but-worried husband. Come ON, okay?
Likewise, the climax used some recycled chichés that should have been retired decades ago.
Otherwise, this film is finely-finished, with well-drawn characterizations, and with strong reminiscences of the plotline and mood within the excellent "Ghost Story" (1981) and a tip of the hat to "Rear Window" (1954).
The rating is nine, but I could have given it a ten had the wornout Grade-C shoulder-touching business and similar childishness been omitted. See it anyway, because it's well worth your time.
But there's really no room in quality film for that cheap, ages-old adolescent shock device of a disembodied hand emerging from offscreen onto the unsuspecting shoulder of our heroine who gasps and does a 180° whirl only to see ... her loving-but-worried husband. Come ON, okay?
Likewise, the climax used some recycled chichés that should have been retired decades ago.
Otherwise, this film is finely-finished, with well-drawn characterizations, and with strong reminiscences of the plotline and mood within the excellent "Ghost Story" (1981) and a tip of the hat to "Rear Window" (1954).
The rating is nine, but I could have given it a ten had the wornout Grade-C shoulder-touching business and similar childishness been omitted. See it anyway, because it's well worth your time.
