★★ Directed by: #TylerSavage Written by: Tyler Savage, #DashHawkins Starring: #VincentVanHorn, #ChristineKo, #MichaelLeeJoplin Indie Film Review by: Corey Bulloch In our modern age of social media-driven society where just about every facet of life is now regulated through a new app or device, the downsides are eerily making themselves known. Tyler Savage’s thriller of a man being tormented by a spurned rideshare driver doesn’t boast much originality with its DNA clearly being tied to more memorable hallmarks in the genre. Andy (Van Horn) who has moved to Los Angeles after a bad break-up attempts a fresh start in the new city, where he meets Sam (Ko), After a fun date in a bar, they take rideshare back to her apartment with a slightly over-zealous driver Roger. While Andy humours him at first but decides to ignore his repeated attempts at socialising, deciding to spend more time with Sam, and that’s when Roger begins to pick apart his life online, one step at a time. Stalker, an appropriate title, does feed into rational fears on the lack of control and protection we may feel with our online presence. Roger is able to impersonate Andy and gain access to his phone, email and bank records and causing serious professional sabotage to Andy’s career as an academic tutor. Though Savage and Dash Hawkin’s script never delves deep into these violations, Roger’s vendetta just feels tiresome due to the bland motivations. These characters just aren’t developed to an interesting degree, while there is sympathy to be had for Andy’s situation, there is little sympathy for Andy’s character. Van Horn’s performance isn’t terrible but you just can’t get invested in who Andy is, his newfound isolation in LA does play into the story but the character is in dire need of charisma. Michael Lee Joplin’s Roger doesn’t have much unique menace or intrigue as the antagonist, playing it as a standard psycho obsessive. Christine Ko’s performance as Sam is the most likeable, as the majority of her scenes just rely on her natural charm as she embarks on dates with Andy. The film plays into the most rudimentary version of itself, Savage seems to have no vision for the story beyond the most predictable tropes. Even when the script tries to break out some third act surprises, it doesn’t exactly revitalise the film, just makes its lack of ingenuity more noticeable. Maybe if those elements were incorporated earlier it could have strengthened some character development issues but it feels like a moment played for shock rather than anything to deepen the story. In the end, Stalker is put together just fine, there’s nothing overtly terrible or offensive but it doesn’t have anything memorable to say about its genres or its themes. Trailer: #CoreyBulloch #Indiefilm

★★★★ Directed by #LukeHolland Film Review by Hope Madden Documentarian Luke Holland’s latest is a last call, in effect. He wanted to ask, explicitly, how Hitler managed all the harm he inflicted. How is it possible, all that horror? And he needed to ask now, before it’s too late. Holland visited with surviving Nazis: SS soldiers and airmen, concentration camp guards and neighbors, and one-time Nazi youths. What he uncovers as his film progresses and his questions build on answers and dig into ambiguities is a human tendency to adjust, to accept, to shift blame. Some sharp-eyed and logical, some eaten with guilt, some cagey, some still fully committed to the cause, Holland’s subjects run the gamut. Their testimony is haunting, not just because of the specifics being remembered. Yes, it is chilling to hear so many nonchalantly recount the day-to-day atrocities they witnessed. But in recalling the methods used from their youngest days to indoctrinate them, and in reminiscing about how ardently they believed, you begin to see how easily it could all happen again. Though many of those Holland speaks to offer sincere remorse at what they did, most do not. In this way, Final Account more often than not boils the blood. While some simply chalk involvement up to ignorance or pressure, some still feel honored to have been considered “elite.” This oral history challenges rationalizations. It doesn’t accuse, doesn’t accost, but it also doesn’t let anyone off the hook. What is the difference between being complicit and being a perpetrator? It’s a question that haunts the film and its subjects. It becomes clear that it’s a question that haunts a nation. There was an urgency about this documentary. Not only were Holland’s subjects far advanced in years, but Holland himself was nearing the end of his own life. A testament and memorial to his own grandparents who were murdered by Hitler’s followers, Final Account also represents the last film. The director died just a month before its premiere. #HopeMadden

★★★★ Directed by #JohnCarlucci #BrandonLaGanke Written by #ChrisMolinaro Starring #CharlieTahan Film Review by Brandon Thomas When you’re sober, drunk people are annoying. Drunk college students are infinitely worse. But drunk college students on public transportation? The absolute worst. Entertaining, but still the worst. Thankfully Drunk Bus leans harder into the entertaining part of the drunkenness, and leaves the annoying portions on the cutting room floor. Michael (Charlie Tahan, Ozark) isn’t a college student anymore, but he’s still intimately involved in campus life. See, Michael drives a bus on campus during the late shift. Affectionately known as the “Drunk Bus,” the route typically consists of inebriated students and the more colorful townies. After Michael is assaulted during one of his shifts, his boss hires a tatted-up, punk rock Samoan security guard named Pineapple (Pineapple Tangaroa) to keep the peace. The two men couldn’t be any more different, but they quickly strike up a friendship that leads Michael on a path of rediscovering who he is. I’m of the mind that a good comedy is typically light on plot. Sure, there should be an overall story being told, but no one is asking for anything as comically complex as Tenet. That being said, Drunk Bus hits the sweet spot for me by being more of a character study that also borders on being a hangout film. There’s situational and physical comedy to be sure, but the majority of the laughs come through the interactions of these characters. Speaking of characters, there are more than a few memorable ones. Directors John Carlucci and Brandon LaGanke pepper interesting personalities with equally interesting faces throughout the film. The standout being the imposing Samoan, Pineapple. Tangaroa is relatively new to acting, yet he brings a naturalistic charm to the role. He and Tahan find fast chemistry that has to work with as much screen time they share. Characters with names like “Fuck You Bob” and “Devo Ted” also charmed me to my core. An elderly character that says nothing but, “Fuck you!” and a middle-aged drug dealer who’s really into Devo might sound one-note – and they are to a point – but they also help define this ridiculously eclectic world the filmmakers have conjured. Drunk Bus dips its toe into cliche now and again, but, really, what comedy doesn’t? The strength of the film is its dedication to character and letting those relationships feel real and lived in. #BrandonThomas

★★★ Written & Directed by: #BijanDaneshmand Starring: #BijanDaneshmand, #TahmouresTehrani, #MarjanehSabouri, #MehdiAbbaspour Web Series Review by Taryll Baker Episodes watched: 3 Following the funeral of Zeenat in Tehran, her son Reza has found an old letter from Daniel, asking to connect with Reza's brother, Javad, claiming to be his son. Captured entirely through a series of online video calls, this intriguing drama from Bijan Daneshmand ignites into a sprawling story of family and discovery. The Bahramis is an eight-episode web series that follows the tribulations of a twisted net of uncertainty in the bloodline of the leading character Reza (played by writer and director Daneshmand). During the Coronavirus pandemic that put the world into lockdown for most of 2020 and bleeding into 2021, creative forces have propped up from countries everywhere with the might to prove that filmmaking and artistry can never be dampened. The spirit within this area of entertainment has been inspiring and surprising to say the least. Whether it meant shooting in low numbers, with limited cast and crew, or recording Zoom calls and piecing the puzzle together, stories have continued to be shared. It’s no different for Daneshmand and his web series The Bahramis, which is an untangling of family drama in a format most accessible to the general public. Split into eight parts and available to stream for free on YouTube, this series unfolds in a slow-burn and gently takes its characters on a journey that wouldn’t perhaps be as affective in a feature made for the big screen. This cast does a fabulous job of making this fictional story come across as real. For a moment, I forgot I was watching a series and was taken in by the genuineness portrayed in the performances. There are many moving pieces and that is evident by episode two; a lot of characters are introduced, referred to and intercut within the story where necessary. This can, unfortunately, make The Bahramis feel overstuffed and convoluted, which was the case for me. Though it’s clearly an important project for Daneshmand and he’s done fantastic work putting all of this together with minimal “flare,” it can be a fairly unrewarding watch. But to create something on this scale — a series released for free on the internet — is praiseworthy. Family issues are one of the most relatable topics for a film or series, and to have it take place over a space of roughly four hours makes sense. Though not perfect, The Bahramis is a good investment of your time, should you be interested in the complications and mystery of bloodline and relation, and projects crafted within the confines of homes during a very difficult period of lockdowns and uncertainty. Watch the trailer for The Bahramis below: - #TaryllBaker

★★ Directed by: #StellaHopkins Written by: #StellaHopkins and #AudreyArkins Starring: #AnthonyHopkins, #LisaPepper and #AaronTucker Film review by: Brian Penn Elyse has essentially two things going for it; shot partially in the restful clarity of black and white and Sir Anthony Hopkins, whose brilliance cannot stop this film falling into a pit of mediocrity. It’s difficult to see what appealed to him aside from the fact his wife directed and co-wrote this flat tale of mental breakdown. The narrative crawls along and fails to engage the viewer on any meaningful level. Lisa Pepper plays Elyse Bridges, a deeply unhappy mother in a loveless marriage to hotshot lawyer Steven (Aaron Tucker). Her poisonous mother Goldie (Fran Tucker) lurks in the background eagerly twisting the knife at every given opportunity. After thirty minutes of empty dialogue the narrative awakes from its slumber. Unsurprisingly, this is where Anthony Hopkins joins the party as psychotherapist Dr Lewis. He adds understated flair and presence although the scene is strange in its construction. Lewis sits in shadow while Elyse strolls around the room discussing art and Freudianism. Hopkins looks mildly confused and frankly I don’t blame him. This pleasant interlude is swiftly followed by a dinner party for Steven’s birthday that is actually funny thanks to some wayward acting. The film switches to colour for her admission to hospital. Elyse enters a catatonic state, and the good doctor contemplates what treatment might rouse his patient from this condition. The characters are hopelessly one dimensional and little more than cardboard cut-outs. Hopkins shines like a beacon and is the only actor worth watching just to see how he salvages such a poorly constructed film. The script goes missing at regular intervals and does little to make the viewing experience any more bearable. Hopkins should be commended for his patronage and gets an extra star for his presence alone. But it’s no more than an ill-conceived vanity project given credibility it hasn’t really earned.

★★★★ Directed by #PatMills Written by #AlysonRichards Starring #CelineSniden #TommieAmberPirie Film Review by George Wolf Does it matter that The Retreat is a “gay” horror film? Well, no. And then yes. Renee (Tommie-Amber Pirie) and Valerie (Sarah Allen) are on the verge of making their relationship permanent, but feel like some time away would do them good. The plan is to meet Val’s friends Scott (Turbo Kid‘s Munro Chambers) and Connor (Chad Connell) at a picturesque “gay BnB” for some quiet time in the Canadian countryside. Or let’s just call it what it is: a cabin in the woods. Uh oh. Right, things escalate quickly. Scott and Connor are nowhere to be seen, and with just a touch of contrivance, the girls soon realize they’re being hunted by some sadistic Rambros (Aaron Ashmore, Rossif Sutherland). From the minute Renee and Val stop for gas, director Pat Mills builds an air of dread and tension minus the usual gimmickry. And once the women are truly fighting for their lives, Mills keeps the adrenaline pumping with a quick pace and crisp editing that helps you forget the distractingly dark tones of the cinematography. Writer Alyson Richards pens a lean, mean, bloody survival thriller that boasts some welcome surprises and a smart social conscience. Realized via strong performances from Pirie and Allen, Renee and Val’s relationship feels perfectly authentic, with a sexuality that’s never exploited by a leering camera. And while you may be reminded of 2018’s What Keeps You Alive, there is a critical difference. The couple in that film could have been heterosexual, and it still would have worked. But here, the fact that it is a same sex couple being hunted matters very much to the story at work. It enables Richards and Mills to anchor a revenge horror show with a satisfying metaphor for the violent threats LGBTQ folks continue to face every day. A big part of that satisfaction is from the blunt force trauma being reserved for the action, not the message. And for those who might be ready to accuse the film of doing some undue stereotyping of its own, take a breath. A nifty little coup de grace proves The Retreat has seen you coming all along. #GeorgeWolf

★★ Directed by #SimonBarrett Written by #SimonBarrett Starring #SukiWaterhouse Film Review by Hope Madden Off in the dusty old Edelvine boarding school, the girls are restless. They need something to pass the time, something to entertain them. They need a Séance. Essentially, the mean girls gather in a dorm lav and Candyman the school’s ghost—saying her name 3 times at 3:13 am, the moment she died, in the very bathroom where it all happened. Oooo, spooky! Well, it’s all just a harmless prank until one of the girls winds up dead. Was it the ghost? Fast forward a bit and Camille (Suki Waterhouse) arrives to fill the vacant room. More girls go missing or turn up dead in a film that cannot find a way to say anything new. Simon Barrett has written some good stuff: Blair Witch (2016), The Guest (2014), You’re Next (2011), Dead Birds (2004). He had not directed any features prior to Séance, but it’s hard to blame this film’s doldrums on its direction. The story just isn’t there. Everything feels borrowed, not from any film in particular, but from the collective unconscious of dorm room horror that involves whispering ghosts, nubile schoolgirls, glinting blades and mystery. Barrett’s writing has tended to utilize tropes from the 80s and 90s to lull audiences into a sense of familiarity that allows him to deliver unexpected thrills. His latest pulls most clearly from 90s staples like the Urban Legend franchise. But when he zigs instead of zags, the lull has turned stupor and Séance’s surprises just aren’t enough to snap us out of it. Performances are fine, production values solid. There’s nothing embarrassing here, just nothing to get excited about. Some of the film’s sleights of hand are clever enough, but the storytelling is so anemic that it’s hard to applaud them. Barrett generates no dread and no sense of connection to any of the characters. Unlike Guest’s Maika Monroe or You’re Next’s Sharni Vinson, who command the screen and drive the film, Waterhouse delivers a mainly listless performance. She’s neither scared nor curious, and though her bursts of ferocity feel cagey, it’s not enough to inject the film with any fire. #HopeMadden

Filmmaker Interview by Chris Olson You have a passion for photography and documentary. What is it about those art forms that attracts you so much? Rod: Both offer a route into understanding peoples lives; still images shot on film in black & white are perfect for discreetly capturing everyday scenes of street life, the stills camera feels less intrusive and draws less attention, so I like working in this way. These images put together in sequence start to tell a story, sometimes in a timeless way. My work is all about telling stories, so I like how still images, particularly in B&W, capture people and events frozen in time. Documentary moving image is a medium that is really coming of age, never has there been such an interest in films that capture and describe people and events around the world, and now there are more and more platforms to show them on. I love how documentary films still have an audience that want to hear about real peoples lives, even in an era of celebrity culture and fake news. Documentary filmmaking has taken me to many interesting parts of the world and allowed me to meet many extraordinary people, some have challenged my value and beliefs, but most have given me a sense of hope and belief that feeds me as a filmmaker. You guys have a documentary workshop coming up. What can you tell us about that? Rod: The workshop is called - Storytelling by the Sea, because we love telling stories and there are so many stories to be told, particularly as we move out of lockdown, and people try to make sense of what they have been through. It's a 6-day practical workshop covering the key skills of documentary film making; researching, shooting, editing and exporting for the screening at the end of the course. We have a great venue and a diverse range of locations for shooting, from the sea, to the town and beautiful nature right on our doorstep. The last course produced seven films on a wide range of subjects, all shot, edited and screened during the week. A breakdown of the course structure can be found on our website. How can people get involved? Rod: They should check out the course details at :- www.storytellingbythesea.com and make a booking by following the link. We are really excited to meet some new filmmakers and see the next batch of films created on the course. The course is open to everyone, from different backgrounds, ages, and levels of experience, this helps create an open and relaxed atmosphere in which to learn and create. What has been your favourite film to make and why? Ross: My favourite had to be my documentary in Ukraine, which was a love story between a neo-Nazi, and a feminist. I really enjoyed working with my colleague Julia. Together we crafted the story delicately, bouncing ideas off each other. We would relay these ideas back to our producer Thomas, who would further advise us. Before and after shoots we would drink coffee and plan exactly what we would ask, where we would place the camera and how we would make cinematic sequences to tell the story visually. As is often with documentary, you go into the process thinking your story is about one thing – but then discover it’s about something totally different. We discovered whilst making this film, that the story was actually about post-traumatic stress disorder arising from combat and extremist politics. Dima our main character, once a neo-fascist, managed to transition into an activist for LGBT rights whilst we were filming. Where can people see it? Ross: https://www.ross-domoney.com/a-ukrainian-love What's next for you, after the workshop? Ross: I will be editing footage of hundreds of dreams which I have collected on Metro trains from around the world. Weird I know, but the rushes are totally wild. It was an attempt to use documentary filmmaking as a way to enter the subconscious world of commuters, from cities undergoing moments of crisis. You can see more about the project here; www.metro-dreams.com Who are your top 3 documentaries? Ross: Undercover OAP: The Mole Agent, A Shape of Things to Come, Minding the Gap What would you say if you were a dolphin? Ross: I would say; ‘How do I make a narrative out of hundreds of random dreams?’ #ChrisOlson #FilmmakerInterview

★★★ Directed by: Mysterex Written by: Ed Accura, Mysterex Starring: Ed Accura, Reginald Mudenda, Amina Smith-Gul Film Review by: Vikas Yadav The first question that would rightly come to your mind after reading the title Blacks Can't Swim: The Sequel is, “If this is a sequel, do I have to watch the first part to understand this one?” Here is my answer: No. You can just comfortably slip into this one without worrying about being lost in plot complications. If you want, you can check out the previous film in the entry, which is A Film Called Blacks Can’t Swim – My Journey, My Story. But you don’t necessarily have to. As the title explains, the film zooms in on an issue prevailing in the Black community where most of them just cannot swim in the water. The film tries to explain the situation by blending documentary with fiction. So, on the one hand, you have interview footage of young people from the Black community expressing their take on the condition of non-swimmers, while on the other hand, you have a fictional narrative where Frank (Ed Accura) becomes a mentor for two young Black youths named Layla (Amina Smith-Gul) and K-Frost (Reginald Mudenda). Layla and K-Frost know how to swim, but they don’t want to. They are part of a community program that gives young adults from disadvantaged backgrounds a better chance in life. But to complete it, you have to enter the swimming pool, and Layla and K-Frost are mysteriously against it. It’s up to Frank, then, to investigate the reason behind their reluctance and motivate these two to step into the body of water. Will he succeed? Watch the film. Mysterex, the director of Blacks Can’t Swim: The Sequel, is very ambitious in his approach. As if the mixture of documentary and fiction was not enough, he also adds elements of fantasy. A demon-like voice appears to demotivate Layla and K-Frost. His arrival is signaled by dark colors and a cartoonish face. While I really appreciate the unusual technique, it does not always fit well with the story. Sometimes, the transition from real videos to the fictional setting can be jarring. The reason lies in its inconsistent tone, which arises because of the actors. Accura, Smith-Gul, and Mudenda don’t “settle” into their scenes. They either overstate their feelings or don’t react at all. For example, when Frank pushes Layla to reveal her discomfort with swimming, she marches out of the room. Throughout this scene, what’s missing is the gradual building up of pressure and Layla’s uneasiness. When she storms out, her motivations seem to be coming from the script and not from within her. Likewise, Frank’s mentoring and K-Frost’s eventual acceptance don’t come across as natural but mechanical. The actors needed to live and breathe their parts. Yet, for all its flaws, Blacks Can’t Swim: The Sequel should be watched because of its ambitious style and the important things it wants to convey to the audience. The people in the interviews have some wonderful insights to share, and I think you should hear them. The film places its statistics in the middle instead of reserving them for the end. You have my respect, Mysterex. On Digital Release Now

★★★★★ Directed by: Martin Vrede Nielsen Written by: Martin Vrede Nielsen Starring: Thale Myhre, Martin Vrede Nielsen Film Review by: Jason Knight The title might give away what this short is about. A person is in a seemingly empty house, they start to hear strange noises and it becomes apparent that something evil might be going on. A young woman (Myhre) is inside a large house, where there is also a baby sleeping in a cradle. Everything seems peaceful. Then she begins hearing bizarre sounds and finds doors and windows that were previously closed, mysteriously open again. The tension and dread rise as the terrified woman proceeds to believe that someone (or something) might have entered the property and is looking to harm them. This terrifying horror story does a fantastic job in creating a terrifying atmosphere. The protagonist becomes more and more frantic, as the occurrences become more frequent and sinister. She constantly hears the baby crying through the baby monitor, hears noises that indicate a third presence and encounters a bloodied hand and a frightening hooded figure knocking on a window. The film also suggests that it might all be just inside her mind. There are only a few spoken words and what is mostly heard are the noises, sound effects and the score that was composed by Luigi Ferri. The sound effects are dynamic and realistic and combined with the tense and terrifying music, they help create nail-biting scenes. The filmmakers make effective use of fast cutting and red-and-black cinematography and by combining them, they develop a scene of chaos, which reveals the devastating emotional state of the woman. Myhre delivers a terrific performance. She is very convincing as a frightened individual who is been stalked by demonic forces and begins to panic and lose her sanity. This achievement could be described as a combination between The Strangers (2008) and Jacob's Ladder. It is a roller coaster ride guaranteed to keep viewers at the edge of their seat and give them the chills. #JasonKnight

★★★ Directed by #ZackSnyder Written by #ZackSnyder #ShayHatten #JobyHarold Starring #DaveBautista #EllaPurnell #OmariHardwick Film Review by Hope Madden The single best feature film Zack Snyder ever made was his first: 2004’s Romero reboot Dawn of the Dead. (That is my hill.) For that reason (plus my sheer, giddy joy for zombie movies), I was far more eager about his latest zombie installment, Army of the Dead, than in anything else he’s made recently. Even the title suggested that he was still on the Romero wavelength and, indeed, by his own 2005 Land of the Dead, the maestro of the undead was already dropping us into a town where the Z population had begun to organize. In Snyder’s case, it’s not just any town. We open on the catalyst—a rapid-fire transformation just over the hill from Vegas. Conjuring fond memories of his prior undead flick, Snyder cuts together an excellent opening montage with some inspired musical accompaniment to quickly bring us up to the film’s current plight. (Likely also offering a preview to their upcoming Netflix series.) Not a moment or line of dialogue wasted. Which is great, because this is going to trudge on for another 2 ½ hours, which is entirely unforgivable for a zombie movie. How about a zombie heist movie?! I mean, the zombies aren’t stealing anything, and nobody’s stealing zombies. Instead, some smarmy billionaire (Hiroyuki Sanada) convinces a Z-war hero (Dave Bautista) to get a crew together and head into Vegas to steal a fortune inside his casino vault. So, Train to Busan: Peninsula. That’s not where Snyder and co-writers Shay Hatten (John Wick 3) and Joby Harold (King Arthur: Legend of the Sword) got all their ideas, though. You will also notice Aliens, The Girl with All the Gifts, I Am Legend, Ghosts of Mars, World War Z, Raiders of the Lost Ark, and just a touch of Danny Ocean. Still, Army of the Dead would be pretty entertaining if it weren’t so tediously predictable. (That does happen when you borrow so liberally, I guess.) Tig Notaro’s a fun piece of miscasting as the wise-cracking chopper pilot, Matthias Schweighofer delivers a bright performance (though it does feel as if it is part of another film entirely), and it’s always a delight to watch Garret Dillahunt weasel his way through a role. The whole mess could have been mindless and merry were it not for its bloated running time. (Self-indulgence, thy name is Snyder.) It still delivers the goods here and there, but it won’t stick with you. #HopeMadden

★★ Stars Directed by: #JoeWright Written by: #TracyLetts Starring: #AmyAdams, #GaryOldman, #JulianneMoore, #FredHechinger, #AnthonyMackie Film Review by: Alicia Moore “An agoraphobic woman living alone in New York begins spying on her new neighbours, only to witness a disturbing act of violence.” The Woman in the Window, based on a novel of the same title by A.J. Finn, presents an awe-inspiring storyline matching the atmosphere of said novel. However, its potential here is the only thing that seems to keep you watching until the credits. I was so very excited to watch this because of the story it is based on plus the spectacular cast that is involved, unfortunately it wasn’t anywhere near the standard that I hoped for. Even with Joe Wright (Pride & Prejudice, Atonement, Darkest Hour) in the director’s chair, there is no steady pace present throughout the film to combine its components in a positively electrifying way. Cinematography by Bruno Delbonnel keeps the eyes fixed on the screen and definitely enhances the mysterious and thrilling aspect of the plot. Delbonnel stands as an Academy Award nominee and I have adoringly gazed upon how he is able to bring out the true colours of a story through the visual telling of settings and expressions – thankfully, I found a similar form of this amazement in his work for The Woman in the Window. The unsettling experience that the plot places you in as an audience member is beautifully told through wide angles and pinpointing intruding details through more closeup shots when appropriate. To my dismay, the direction in a broader sense wasn’t the standard I was anticipating at all. Direction, of course, weaves its way into all elements involved in creating a film; like a tree slowly sprouting thanks to the tender care of the sun and rain. But, in this case, the tree hasn’t received the same type of natural nurturing that it needs. Joe Wright, although praiseworthy in regards to many of his previous works, appears to have been unable to maintain a steady flow of direction from beginning to end. The Woman in the Window feels much like a copycat game; not simply taking inspiration from other directors’ techniques and film quirks but actually attempting to implement them so squarely that it becomes a graceless act. It doesn’t feel like his work is authentic and artistic despite the plot being something extravagant and providing such a powerful story to build upon. Don’t get me wrong, the directing isn’t entirely ‘bad’ and some choices do complement the film overall but even so, this backbone of the film just isn’t strong enough. The writing (Tracy Letts) tends to follow the same pattern of issues as the direction. It generically takes shape over the course of the film and can feel quite blunt and tedious at times. This makes me a little confused because how can that possibly happen with a storyline so full of vibrancy and already there to work with from the novel? It starts to fail terribly approaching the third act in a race to finish the film just shy of two hours; it spirals out of control and starts to generate a whirlwind of disarray. The story is complex, however the writing doesn’t make it confusing or difficult to follow, instead it straightforwardly loses sight of a gratifying climax. Amy Adams crashes down on the previously mentioned downsides of The Woman in the Window and delivers an utterly impressive performance as Dr. Anna Fox. I expected a lot from this film and was let down in many ways — admiringly, Adams never lets me down regardless. She always perfectly grasps her character’s emotional stance and portrays these emotions with true heart and a breathtaking perception of reality through the character’s eyes. The entire cast is remarkable and work well together, playing off each other’s reactions and movements, but Adams in particular is stupefying. She has a few strings of monologues in this film and let me tell you… watching it just for those might actually be worth it. The Woman in the Window, now streaming on Netflix, could have easily been a purely enjoyable watch but its flaws are a little too bright to find your way past them. At the end of the day, I merely wish that the novel was given a better representation through film — anyhow, Adams’ performance pleasantly achieved that goal for her character. I recommend exposing yourself to this story in one way or another though; it’s your choice what form you want to delve into.