![]() More than thrills and chills were snipped from the story we can only presume that basic coherency also wound up on the cutting-room floor. Plus, there’s a bafflingly loose interest in her agoraphobia, a countdown conceit that flattens the tension, and a series of over-the-top characters who only exist to deliver bad exposition. A stripped-down script does away with nearly every element that makes Anna (Adams) sympathetic or credible. ![]() ![]() ‘No Love Lost’ Review: Erwan Le Duc’s Father-Daughter Dramedy Closes Cannes’ Critics Week with WhimsyĪrriving on the streamer almost two years after it was originally slated to hit theaters, Wright’s “The Woman in the Window” isn’t cursed - that, at least, would be interesting - and is instead something far worse: boring. ![]()
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