{"id":249208,"date":"2021-05-14T02:00:02","date_gmt":"2021-05-13T23:00:02","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/a-goofy-mess-film\/"},"modified":"2021-05-14T02:00:02","modified_gmt":"2021-05-13T23:00:02","slug":"a-goofy-mess-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/a-goofy-mess-film\/","title":{"rendered":"#A Goofy Mess \u2013 \/Film"},"content":{"rendered":"

“#A Goofy Mess \u2013 \/Film<\/strong>”<\/p>\n

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It\u2019s been a long time since I\u2019ve watched a new movie that could qualify for the \u201cso bad it\u2019s good\u201d designation, but\u00a0The Woman in the Window<\/em><\/strong> comes pretty darn close. Already infamous for being long-delayed (it was supposed to open in theaters in 2019) and for its extensive reshoots, the Joe Wright<\/strong>-directed adaptation of the bestselling novel arrives on Netflix and robs a bunch of talented people of their dignity in the process. Here is proof that you can hire a skilled director, a Pulitzer Prize-winning writer, and a killer cast and still end up with junk. But is it at least\u00a0entertaining<\/em> junk? No, not really. You might get a cheap thrill from the absurdity of it all, though.<\/p>\n

Amy Adams<\/strong>, one of our best working actresses, slums it by going extremely over-the-top as\u00a0Dr. Anna Fox, a child psychologist who is housebound due to\u00a0agoraphobia. She sees a therapist (played by\u00a0Tracy Letts<\/strong>, who also penned the script<\/a>, although you sure wouldn\u2019t know it while watching this), washes her medication down with copious amounts of wine, and spies on her neighbors in her posh New York neighborhood. This is, of course, Hitchcockian\u00a0Rear Window<\/em> territory, and director Joe Wright doesn\u2019t try to hide it \u2013 he throws in an actual shot from\u00a0Rear Window<\/em> mere minutes into the film\u2019s start. But that\u2019s a big mistake because you should never directly remind an audience of a masterpiece during your lousy movie. They might be inspired to turn your movie off and go watch the better film instead. And in this case, they probably should.
\nAnna is a mess. She\u2019s often angry and confused, and almost constantly drunk. This style of living has pushed away her family, and she has long, tender-but-sad phone conversations with her absent husband (Anthony Mackie<\/strong>). With only her cat for company, she seems lost and lonely, so it\u2019s a little understandable when she gets hung up on her new neighbors across the street, the Russells. She first meets the son of the family, a social<\/a>ly awkward kid named Ethan (Fred Hechinger<\/strong>) who stops by one day. Later, she meets Ethan\u2019s mother Jane, played by Julianne Moore<\/strong>. The two women hit it off almost immediately and guzzle a\u00a0lot<\/em> of wine. It\u2019s fun to watch Adams and Moore playing drunk, but that only gets us so far.<\/p>\n

Things take a dark turn when Anna looks out her window one night and sees Jane being brutally murdered in the Russell home. Wright foregoes any sense of subtlety here and literally has cartoony blood splash onto the screen in front of Anna\u2019s face as if she were a video game<\/a> character in a first-person shooter who just sustained battle damage. Anna is convinced that Jane\u2019s husband, Ethan\u2019s father, Alistair (Gary Oldman<\/strong>) has murdered Jane, and she rushes to call the cops. A kindly detective (Brian Tyree Henry<\/strong>, the only person here who seems capable of delivering a good performance with this material) arrives \u2013 but ah, here comes a twist! Alistar and Ethan insist Jane\u00a0hasn\u2019t<\/em> been murdered. And to prove it, they produce Jane, alive and well. But to Anna\u2019s horror and confusion, Jane is a completely different person, now played by\u00a0Jennifer Jason Leigh<\/strong>.<\/p>\n

Just what is going on here? Did Anna really<\/em>\u00a0witness a murder? Or is she simply a crazy pill-popping cat lady, as one character calls her. Anna is convinced she\u2019s right and tries to get to the bottom of things, but that\u2019s not so easy since she can\u2019t leave her house due to agoraphobia. And everyone is a suspect, including David (Wyatt Russell<\/strong>), the handsome guy who rents a room in Anna\u2019s basement.<\/p>\n

None of this is particularly original, and that\u2019s fine \u2013\u00a0 you\u00a0could<\/em>, in theory, develop a familiar-but-capable thriller from all of these elements. But Wright never has a handle on the material. He seems to think that the best way to make the film scary is by making it loud and disorienting, so the soundtrack is always blazing, the camera is always tilting and spinning, and scenes are always cutting away at truly awkward moments, as if the editor got sick of dealing with all of this. We also never get a real sense of the layout of Anna\u2019s house, which is odd since we spend almost the entire movie there. Wright does a poor job of communicating the space, although cinematographer Bruno Delbonnel<\/strong>\u2018s lighting is appropriately moody and occasionally appealing.<\/p>\n

Adams is at the center of it all, and her performance is best described as manic. To be fair, that\u2019s how Anna is supposed to be \u2013 she\u2019s a drunk pill-popper who may or may not be going insane. But Adams\u2019s work here is so extremely dialed-up to the max that it\u2019s almost alarming. I wasn\u2019t worried for the fictional character Anna Fox here, I was worried for Amy Adams. How did this happen? How did such a fantastic performer muck this up?
\nPerhaps it\u2019s not her fault. Perhaps the extensive reshoots the film underwent created something of a Frankenstein\u2019s monster \u2013 a lumbering beast that\u2019s been cobbled together from spare parts. The David character seems to suffer the most from this \u2013 one minute he\u2019s the nicest guy in the world. A split-second later, he\u2019s a jerk. He\u2019s also forced to deliver one of the film\u2019s goofy jumpscares when he literally pops his head into the frame and yells \u201cBOO!\u201d at Anna. Terrifying!<\/p>\n

Is there a better version of this movie somewhere? Was the pre-reshoot version actually more promising than all of this, and test audiences just didn\u2019t get it? Maybe. Letts is a hell of a writer, but he\u2019s also been saddled with a cheap, derivative beach read; a book that wasn\u2019t so much written as it was designed to shoot up to the top of the bestseller list. Maybe Letts and Wright should\u2019ve just tossed the entire book in the trash and made up something from scratch.<\/p>\n

The Woman in the Window<\/em> is so silly and broad that it begins to border on camp, and I have a feeling this could become the type of cheesy dreck that people get a hoot out of if they follow Anna\u2019s lead and down one or two or ten bottles of wine. By the time the film climaxes with multiple predictable but utterly preposterous twists, you\u2019ll probably be reaching for a bottle yourself.<\/p>\n

\/Film Rating: 4.5 out of 10<\/strong><\/p>\n

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“#A Goofy Mess \u2013 \/Film” It\u2019s been a long time since I\u2019ve watched a new movie that could qualify for the \u201cso bad it\u2019s good\u201d designation, but\u00a0The Woman in the Window comes pretty darn close. Already infamous for being long-delayed (it was supposed to open in theaters in 2019) and for its extensive reshoots, the…<\/p>\n","protected":false},"author":1,"featured_media":249209,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/d13ezvd6yrslxm.cloudfront.net\/wp\/wp-content\/images\/the-woman-in-the-window-review.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[48252,1568,1522,47144,1570,48782,7598,1377,12722],"class_list":["post-249208","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-the-woman-in-the-window","tag-featured-stories-sidebar","tag-adaptation","tag-amy-adams","tag-features","tag-joe-wright","tag-movie-reviews","tag-netflix","tag-thriller"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/249208","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=249208"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/249208\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/249209"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=249208"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=249208"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=249208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}