Good for suspence and Sutherland fans.

Suspense and mystery is built up well in this adult horror that constantly teases the viewer with snippets of eerily vague information, building up to what you hope will be an everything-comes-together climax. Unfortunately it doesn't, and the ending is not only insultingly daft, but also - the final nail in the coffin for any horror film - unintentionally laugh-out-loud funny. The Venice location is responsible for much of the movie's charm.

All the Roegian qualities can't save it for me. How come everyone loves the ending?

Venice more horrible, beautiful and mystical than ever pictured before (or since). I didn't find it as terrifying and scary as I was told it would be, but that doesn't matter. Nice atmosphere all the way through, mainly due to the nice editing and camerawork - very subjective, felt as if it was inspired by the manifests of impressionism... Nevertheless, found the sound a bit annoying at times, and the problems with the plot: meant to add to the mysticism or simply sloppy errors? Hard to tell.

Can't knock the visuals or the direction. When it's at its most abstract, it's engaging. When it isn't, it's sorta sleepy, and the finale is not only unsatisfying, it is also hilarious, which is slightly inappropriate.

"Don't Look Now is both a chilling horror film and a fascinating portrait of grief." - Ed Gonzalez

Feels like an odd combination of a tragic, domestic drama and a horror film. That gives it a unique mood, but it's not always as moody as you'd want, and in fact is kind of schlocky, right up to the ending, which is both frightening and ridiculous. Lots to admire about Roeg's approach here, but plenty to criticize as well. Nevertheless a fascinating film, and a decent one at that.

Impossible to forget.

good editing

A masterpiece of atmosphere, tone, cinematography, editing and shock.

Don't Look Now is a boring, stupid film.

This is a film that's strengths rest on its formidable formal qualities--the atmosphere it sets, the tension it builds, the refusal to highlight one element over others. Roeg creates a world in which it is near-impossible to determine any one thing that is more important than another, imbuing all events with inherent significance. The critique of pure rationality works well, as the horror elements of the film aid this theme in a powerful way.

Nice!

Sucessful atmospheric thriller.

143

An intriguing tale of loss and the fear of loss with an enigmatically horrifying ending for the ages.

too many shadows

It is all about the atmosphere in Nicolas Roeg's hazy horror film. This is not a movie without flaws, but the parts that work work really well. I'll give it another watch sometime.

Ridiculously cheesy and absurd. Liked the opening scene but it takes a nosedive from there. The fake blood looked straight up horrible and took me right out of the film instantly. You aren't dying bro, that blood is runny jello. Also enjoyed seeing Julie Christie's glorious rack, could've used more shots of her randomly walking around naked to boost the score a bit. The only thing shocking about the sex scene is that Julie Christie would ever agree to have sex with Sutherland, unbelievable.

When a film contains only one scary scene, but is still labeled a horror film, that says a lot about that scene. There's an unique and eerie feel throughout the film, and the ending justifies its many extremely slow-paced, seemingly irrelevant parties.