This arty Dutch psychological thriller became a surprise hit on the art house circuit. This keeps you guessing throughout and is well directed by Sluizer. The chillingly ambiguous twist ending will stay with you for days -- and is far more satisfying than the new, upbeat ending contrived for the remake.

A rather engaging and emotionally satisfying thriller. The on-screen presence of Raymond is always a curious delight; he is one of the more interesting diaboliques of cinema. This movie could've been a bit more psychologically deep as it's warranted, and as creepy and unsettling as the ending is, it would've been even more creepy and unsettling if Rex didn't drink the coffee.

It's funny, I liked the American 1993 remake better, except for the last 20 minutes. This original ending was WAY better, and should have been kept, seeing as it was the same director who made both movies.

After this, and Fat Girl, ima never let my woman out at a gas station!

I really wish I could have seen this version before I saw the American remake.

Deeply unsettling. So many "scary" films attempt to provide some sort of moral compass - character flaws lead people to their demises- but here the deep, dark randomness of it all is so haunting. I wasn't so much of the film's symbolism (the golden egg/dream/coin stuff wasn't very compelling), but the performances and the story (especially the twisted ending) make it fascinating.

A thriller that turns the genre's conventions on its head with a slowly unraveling story that keeps the audience (and protagonist) mesmerized until its horrifying conclusion. Although the audience is privy to the perpetrator's identity near the film's start, it does not diminish the suspense or the impending dread one iota; in fact, it heightens these feelings considerably. A truly unique look at just how mundane evil can be, and more unsettling than any paint-by-numbers slasher you'll ever see.

Criminal5 what kind of pussy are you?

Psychological horror at its greatest.

pretty good

Engaging build-up to an ending that would fit better in a Tales From the Crypt story. Deeply disappointing. Raymond Lemorne still made it worthwhile when the script slacked.

Unique in that it's not a question of who or how, but why. It's unconventional and rather unsettling. I must say I was underwhelmed by the much-hyped ending, though.

Second viewing: still chilling, still the best kidnapping movie ever made by far... And that ending!

Absolutely chilling. The film's structure is quite smart, leaving the viewer in the dark most of the time. Once the reveals come they arrive with gut-wrenching force. Excellent work across the board, with one of the most haunting endings to a movie I've seen in... well, maybe ever. OK, after Threads maybe.

SPOILER!!! ACHTUNG!!! I'm not satisfied with Raymond's explanation to why he did it. I have to know the truth, I just have to... I'll do whatever it takes... AAAAAAAAAAAAA!!!!!

'Spoorloos' is a unique package. Acting and plot is grounded in everyday reality but, at the same time, Sluizer excels stylistically. In terms of narrative, it's somewhat peculiarly put together but that mostly works to its advantage. The film sometimes loses momentum but whenever it was about to lose it's hold of me, I was hooked anew by an impressive shot or another tense scene. Chances are you've heard of the ending. And, yes, it is really good. So is the prologue. A top-tier thriller.

Intriguing tale made even more frightening by the real possibility that this has or could happen for real. Also features a great villain that seems like the guy next door-type, but has that hidden side to him.