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Don't Look Now
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Don't Look Now

1973
Drama
Suspense/Thriller
1h 50m
Your probable score
Avg Percentile 62.54% from 2083 total ratings

Ratings & Reviews

(2082)
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Rated 03 Dec 2008
47
11th
Someone once told me that this film was so good it was beyond human comprehension. I can comprehend it. And I can comprehend that it sucks. The plot is a convoluted mess, and it plods from one pointless scene to another. The film does have quite striking visuals, and the ending works, but not unlike the Blair Witch Project, one has to wonder if we need that much build up to one halfway decent scare. If you want to know if this one's worth it, the title says it all.
Rated 03 Mar 2012
48
18th
Almost two hours of nothing to set up a flash scare. Oh, and no, I did not ask for a five minute Donald Sutherland sex scene.
Rated 08 Feb 2011
10
0th
Is Roeg being subversive by taking the thrills out of a thriller & pissing all over the dictum that films r life minus the boring parts? I have no idea. I do know this is an insomniac's godsend w/ various plot threads & bits of strangeness (sisters who laugh maniacally, a dead child, injured son, several slightly "off" Venetians) grafted on2 the slightest of tales (psychic predicts man's death). All these oddities fail 2 tie 2gether in2 any kind of twist that might've excused this GODAWFUL slog.
Rated 11 Feb 2012
86
86th
Having seen this years ago I still can't forget the visuals: both majestic and terrifying, eerily graceful and unsettlingly nightmarish. I'm, of course, referring to Donald Sutherland's ass.
Rated 28 Feb 2011
20
3rd
In the same way as the Blair Witch Project polarised viewers into "My god, the most scary thing ever" ... and "complete yawnfest where nothing happens" ... this is clearly the precursor to THAT film. I am not going to say it was rubbish, (although the acting was extremely wooden, which meant that any sense of reality was lost completely) but the story is completely devoid of purpose and denouement. It MAY be arty, and it DOES gets you thinking ... but only to ask what the hell was THAT about ??
Rated 14 Aug 2007
30
4th
Too absurdly silly to have any real tension. Julie Christie is easy on the eyes, though.
Rated 19 Aug 2011
2
21st
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.
Rated 17 Feb 2007
80
95th
Amazing film.
Rated 14 Aug 2007
71
37th
Kinda good, kinda not. The film excels at building tension and creating a sense of dread. But it's also pretty cheesy, especially with the incredibly fake blood. The love scene felt superfluous.
Rated 08 Jan 2010
3
24th
Don't Look Now is a boring, stupid film.
Rated 09 Mar 2017
81
90th
After this movie you probably don't want to go to Venice anymore. I don't.
Rated 11 Feb 2010
80
77th
An intriguing tale of loss and the fear of loss with an enigmatically horrifying ending for the ages.
Rated 04 Sep 2010
40
26th
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.
Rated 05 Sep 2010
48
29th
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.
Rated 14 Sep 2010
2
15th
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, but ultimately disappointing.
Rated 12 Sep 2019
65
43rd
Haunting film that's done very well Donald Sutherland is fantastic as the grieving skeptical father
Rated 31 Jul 2012
82
77th
Less a traditional ghost-of-girl spookfest but more of a domestic drama about the horrors of marital separation. Roeg's most brilliant talents - the use of ellipses in time and space, and visual analogy - are perfect for horror. All sorts of disjointed, perhaps true!, perhaps not! relationships encourage that wide-eyed childlike terror when we never really understood the logic of it all. Maybe we still don't. Damned if I understand the climax scene.
Rated 03 Oct 2020
78
53rd
Massively overrated. There are glimmers of brilliance and occasional sequences of unease, but ultimately it's messy, meandering, and feels like an illegitimate child of Polanski and the average giallo. Rampant overacting makes whole scenes laughably campy. The praise for the photography should go to Venice itself--as the flash cuts are annoying and come off like the work of an overeager film student. Still, the film's conceit is interesting and could definitely benefit from a skillful remake.
Rated 06 Apr 2013
20
8th
Much of it was boring and stupid. There is a great sex scene between Donald Sutherland and the gorgeous Julie Christie. Events are jumbled up and disconnected, one minute their daughter had just died, the next they are smiling at each other over lunch. I really disliked all the stupid psychic and religious nonsense and so much spoken Italian. There is also far too much setup for the pathetic ending. The setting and scenery are beautiful but the story telling was just terrible.
Rated 23 Jul 2013
45
15th
I'm sick of this style of filmmaking, anytime something happens there's a flurry of edits that completely destroys any emotional connectivity that's been built up. Without that emotional hook, there's no reason to be interested, and the film just becomes a detached montage of images. That people think this is somehow "atmospheric" shows that postmodernism went really wrong somewhere along the line. It also suffers from the "laughable climax" problem that many other horror films have.
Rated 13 Feb 2007
100
99th
A masterpiece, probably my very favorite of the genre, every last detail of Don't Look Now is perfect. Roeg is deeper, smarter, more sensible and more percise than Hitchcock ever was, for starters. Donald Sutherland kicks ass and the script is magnificent.
Rated 19 Aug 2007
50
33rd
This is supposed to be mysterious and suspenseful and everything, but I don't find it all that exciting. It's not erotic, either, even though it's been highly touted as such
Rated 13 Apr 2008
90
97th
Very moody. And the ending is, or ought to be, even more legendary than its love scene.
Rated 02 Mar 2009
84
94th
Nice movie. Some very beatiful scenes.
Rated 27 Aug 2009
80
70th
Nowhere near as creepy as most made it out to be, but still a great mystery with fine cinematography and absolutely masterful editing. The scene with the scaffolding is unforgettable.
Rated 10 Jan 2010
44
38th
One of those mystifying "classics".
Rated 13 Jun 2010
75
68th
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.
Rated 28 Feb 2011
87
78th
Hauntingly crystalline, but it maintains a distance that ultimately works against the immediate impact of the visuals.
Rated 08 Mar 2011
65
24th
I really really wanted to like this one, but I failed. Nevertheless beautiful shots from Venice and a great cinematography (especially the sex scene).
Rated 11 Aug 2018
4
74th
Roeg's associative and elliptical editing pattern creates an uncanny time and space, a byzantine geographic and psychological miasma which actually feels precognizant of The Shining.
Rated 18 Aug 2016
60
16th
The editing is very interesting once you've seen the movie all the way through; it really works well with the themes of foresight and premonitions. The music, also, works very much to the film's advantage, whether it's to emphasize the love scene or add chills when it builds up to it's climax. But here's the thing, that ending is only half chilling, and half absurd and out of nowhere. The rest of the movie is completely boring!
Rated 31 Aug 2012
48
46th
More or less, this was a glorified, 2 hour Twilight Zone episode w/ nudity
Rated 11 Aug 2016
40
7th
This movie takes boredom to a new level. Near the end you get exactly one mildly uncomfortable scene. Is it worth the 110 minute wait? Hell no. Apparently this movie is important for its 'impressionistic editing' and innovative use of 'time as a fluid non-linear concept'. I call that overanalyzed bullshit!
Rated 09 Oct 2012
85
69th
This film is a real work of art. Couple that with an intriguing story, and you've got a great thriller here.
Rated 29 Aug 2013
78
58th
It's rare these days to see a steamy sex scene that feels real and intimate. Really liked that. As for the rest of the film, though, I was quite disappointed with the second half. At first I enjoyed the lack of exposition but it soon got really tiresome to keep searching for some kind of deeper meaning behind the mysticism. This is a mood-film more than anything else, reminiscent of Rosemary's Baby and the Wicker Man. The eery and experimental cinematography is what's most interesting.
Rated 07 Sep 2013
62
42nd
A lot more cerebral and profound than it initially appears, but that doesn't make it a good movie. Aside from the last half hour, 'Don't Look Now' is a plodding, overly long borefest, made worse by the insufferable acting. Whoever says this is an accurate depiction of grief is wrong. The infamous sex scene is nothing spectacular either. 'Are you a Christian?' 'Well, I'm nice to children and animals!' Ugh.
Rated 23 Dec 2013
55
11th
I had had high hopes because of the source story being by Daphne Du Maurier. The atmosphere and pacing were fantastic, but overall the story seemed muddled rather than mysterious. The climax felt campy and I laughed out loud. Then there was dreadful supernatural explanation at the end.
Rated 15 Aug 2020
60
35th
I'm in the "meh" camp here. It's a fairly simple Hitchcockian-style creepy movie. The acting is fine; I generally like movies where the place (Venice) seems to be its own character. But there were a lot of editorial choices, like the staccato back-and-forth viewpoints at the beginning and the overly-long sex scene, that distracted me too much.
Rated 09 Sep 2014
40
13th
I think the best way I can describe this film is, "very 1970s". The direction, complete with superfluous zooms, the haphazard editing, the bad audio, the awkward performances, and the sex scene was... something else. It even managed to make Venice look unappealing. I didn't really care for it. I found it alternately boring and infuriating. Its one saving grace was the thrilling and scary climax. Otherwise, I don't really see what the big deal is. I wouldn't place this with other horror classics.
Rated 29 May 2020
92
96th
I'm all for a gonzo ending in a horror film, but not at the expense of the preceding 45 mins. I felt more lulled than tense. After the first half the psychic sisters hardly affect the plot at all, and Julie Christie's character is shafted for ambiguity's sake. Again Roeg offers a beautiful setting and lively direction but burns me with loose ends. (Actually, upon rewatching, this is a flawed masterpiece)
Rated 03 Jan 2007
98
97th
Inverno de Sangue em Veneza tinha sua première há 50 anos em Londres. Era uma obra-prima da primeira vez que vi e continua uma obra prima, como dizem nos extras do DVD, é um exercício sobre a gramática do cinema. DVD Versátil.
Rated 13 May 2007
100
97th
Good luck getting that penultimate scene out of your head.
Rated 28 May 2007
92
94th
One of the greatest--and most beautiful--horror films of all time
Rated 21 Jul 2022
77
64th
I liked this a lot, but found myself consistently wanting to like it more. It's effectively creepy and has some strong scenes. The ending "payoff" seems more than a bit silly and random and drags things down to some degree. Leads are good and the setting and locations are perfect. Good at creating a sustained unease and making the mundane seem unsettling. I will probably revisit this film at some point.
Rated 11 Sep 2019
62
39th
Great to look at but with some hammy performances and not as suspenseful and weird as it could have been.
Rated 31 Aug 2007
96
99th
it made me feel the same way like i felt in rosemary's baby.
Rated 08 Sep 2007
65
47th
Somewhat padded (but visually arresting) adaptation of Daphne Du Maurier short story is rather too detached to be very frightening or emotionally involving on any level. Quite eerie, though.
Rated 12 Sep 2007
58
17th
It's creepy and pretty interesting. My film professor said it was the scariest film he'd ever seen, and it obviously can't live up to that expectation for anyone except him, it was still reasonably effective.
Rated 21 Jun 2022
3
72nd
what was the point of that sex scene? really....
Rated 21 Aug 2019
7
73rd
Intriguing and memorable.
Rated 21 Aug 2017
73
63rd
Macabre Month of Horror 2017 video review: https://youtu.be/3bXi54GfVbY
Rated 08 Feb 2008
84
81st
Ooooh! Here's a little gem. One of the most challenging movies I've ever seen. I was asked immediately after the movie ended, if I liked it. I thought for, literally, 30 seconds before answering "I don't know." I'm still not really sure what to make of it but it was beautifully shot and legitimately unnerving. Also, a horror movie with smart adults with adult problems...not a dopey, over-sexed teenager in sight.
Rated 01 Mar 2008
92
87th
# 163
Rated 08 Apr 2008
75
68th
Quite well done. I think when I watched it for the first time, I might have peed my pants a little in the end. ;)
Rated 18 May 2008
75
48th
I'm still terrified of little people and red raincoats, but not as much as I'm afraid of sex scenes featuring Donald Sutherland's flat, white buns.
Rated 13 Jan 2022
60
23rd
Respect what it did for editing and how it dealt with its motifs, but I also felt that it was disjointed and had little to truly invest in. Acting is bad which puts a damper on the whole "exploring grief" thing. Script needed polish: some scenes go on too long while others not long enough. Some hokey dialogue. With that said, I got some enjoyment due to the atmosphere (Venice is spoooooky) and the general plot since there's a decent mystery in there. Ending is great.
Rated 10 Jul 2019
77
70th
Damn Criticker, your mind reading is impressive, 77 is on the money. I can see how this influenced a lot of great stuff, there is some very inventive camera work, editing and incredibly naturalistic performances from the leads. Honestly though I was bored at a fair few points in the film. This might be because the plotting has been stolen by so many modern movies that I just saw every beat coming. Julie Christie is so beautiful and has the kindest smile.
Rated 19 Aug 2008
76
68th
Great atmosphere and editing.
Rated 21 Oct 2008
82
85th
Sly, enigmatic, and very intriguing. Roeg effectively creates a very menacing Venice, and though the story is (intentionally) ambiguous and unclear, the creepy (and wonderfully shot) atmosphere is what makes this film work.
Rated 19 Dec 2008
93
86th
136
Rated 18 Jan 2009
80
78th
One of the most beautiful films I've seen. Venice in the wintertime is one of the creepiest sceneries I could think of. And the sex scene is hands down the most beautiful cinematography and editing I've witnessed in years.
Rated 25 Sep 2022
70
51st
Funky, gothic. Sex scene is one of the best. Sutherland makes coming out of the bathroom and saying "do NOT go IN there!" classy. I want to like this more but it is so shaky technically and so… insecure?… especially at the end when it curtain-calls all its little motifs for you.
Rated 03 Nov 2023
74
79th
The pigeons sure are beautiful this kind of year.
Rated 21 Apr 2009
65
58th
Probably a bit overrated due to Roeg's great camerawork and the fucked up ending.
Rated 24 Jul 2009
80
73rd
a bit overrated I would say, good nonetheless. Venice is super eerie, the story is good but predictable by today's standards but there are some scattered cheap, lame scenes lying around which makes this movie a tad short from being perfect.
Rated 29 Jul 2009
72
68th
A bit of a let down....
Rated 08 Sep 2009
100
96th
"Don't Look Now" is not a conventional horror film because it gains its horror from absolute dread and despair rather than scares. There is a chilling finale, yes, but it is completely terrifying because the viewer has connected to the film through the way it builds up like a drama. At once horrifying, at once painfully sad, and altogether (alongside "Halloween") the best horror film of its respected decade (and, oh, the 1970s had some fantastic ones.)
Rated 25 Oct 2016
0
0th
Really. Just don't. Don't look now... or ever. I won't apologize to say this movie was truly stupid. You can't just base an entire movie on cinematography and editing. When that is all you can say about a film or those movies where you say "wow, well the music was good" it means the movie really wasn't that entertaining. Now, if you only watch movie as art and not to be entertained at all, if you see a movie as an electronic painting on your wall and have no interest in...
Rated 26 Jan 2010
87
75th
Sucessful atmospheric thriller.
Rated 03 Apr 2010
80
58th
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.
Rated 22 Apr 2010
80
44th
Nice!
Rated 04 Dec 2020
41
16th
Why/How (when/who/what) do people like this boring ass film? * The 41 points I'm giving it are for the 41 times I said HA during the sex scene
Rated 21 Jun 2019
90
95th
julie christie ve donald sutherland'in performansları, ürpertici kardeşler, roeg'in kadrajları ve başlı başına şaheser kurguyla, tekinsizlik filmin kıyısına köşesine kadar siniyor. öyle bir dili var ki, mevzu dolaylı olarak bile insanın yaşamına dokunmasa da etkilemeyi başarıyor, ama bir de yakaladığı bir nokta varsa, işte o zaman dağıtıyor.
Rated 04 Oct 2010
93
98th
Impossible to forget.
Rated 19 Oct 2010
40
97th
"Don't Look Now is both a chilling horror film and a fascinating portrait of grief." - Ed Gonzalez
Rated 20 Oct 2010
30
9th
One of the biggest letdowns in film history. All build up and a cheap payoff. Like that hooker I met in Vegas!
Rated 08 Nov 2020
72
42nd
Nope, sorry, the ending is a wet fart. Look out, Donald, it's a... dwarf...? Wow, that's, like,... so spooky, dude. I guess. At the very least, the non-linear editing successfully elicits palpable feelings of disorientation and trauma, and Christie & Sutherland are, as is typical, searing. But I just found the whole conceit to be rather doltish, I don't know. Maybe the problem is me, and my general aversion to ghost stories.
Rated 24 Sep 2016
75
59th
Almost incomprehensibly layered. It was a bit of a mess to get through but its basically demanding a rewatch thanks to the density of the visuals and the subtext of universal interconnectedness / fate. Also contains one of the best physical shock scenes ever, maybe only rivalled by the Diner scene in Mulholland Dr.
Rated 21 Apr 2011
90
95th
Virtuoso directing. Creepy, well-acted and beautiful to look at. Plus hot Julie Christie naked. Win.
Rated 20 Feb 2012
60
40th
creepy, scary, watch it it you like that kind of thing
Rated 30 Jul 2012
5
98th
Grief gets over Donald Sutherland in a scary version od Venice. The ear-ringing and mind-numbing pain of sudden loss is the horror.
Rated 20 Sep 2012
81
65th
Didn't completely win me over until the very end. At its best it's a very moody, off-putting film, but it has a tendency to get a little dry and off-track. Definitely worth sticking through for some great horrific moments, though.
Rated 08 Oct 2012
87
72nd
"Nothing is at it seems." Nicolas Roeg's wonderful eye and the acting of the two leads, Julie Christie and Donald Sutherland, take us on a ride through a rotting Venice.
Rated 01 Nov 2012
92
64th
92.000
Rated 04 Jan 2013
85
83rd
84.500
Rated 28 Sep 2020
40
17th
The cinematography and atmosphere were great and the acting was servicable. But the script and the plot were just atrocious. How can anyone take this film seriously?
Rated 23 Mar 2018
52
20th
Saw this fairly recently and was hoping for a lot more than what I seen. Just didn't click with me as it wasn't particularity thrilling or horror filled. Maybe if it was viewed in the 70s it would have been better.
Rated 05 Jan 2018
84
80th
2023'de #IzlediğimFilmler ; 158. Don't Look Now (1973) Kesinlikle #spoiler yemeden izlemeniz gereken filmlerden. Döneminin yine çok ötesinde olan ölümsüz klasiklerden. 8/10 #BenimleYaşıtFilmler
Rated 20 Apr 2013
80
65th
Atmospheric and ridiculous. It's an effective and simple story told with flashes of disorienting style and camerawork. Sutherland plays it almost too cooly, but it works. The music is terrific and not overbearing. The slow burn set up works as the characters feel less like cutouts and more like actual people.
Rated 24 Aug 2013
80
84th
The setting and the cinematography combine to give this an atmosphere that is both melancholy and ominous. Each shot is beautifully composed, with every flash of red an effective reminder of the loss experienced by the two main characters. Haunting, unnerving, and effective.
Rated 04 Feb 2018
85
87th
Roeg's allegory to the stages of grief is set to a ghost story with impressive precision. The gorgeous visuals often distract from the importance of noticing what both Sutherland and Christie are going through, as each is progressing through grief at a different pace. With eerily emptying Venice corridors and blood red imagery, Don't Look Now is a wonder in its plodding pace and shocking conclusion.
Rated 08 Mar 2014
80
56th
It's about love connections.
Rated 10 Apr 2014
75
72nd
A unique and occasionally baffling examination of guilt and remorse in the guise of a horror thriller. Although it can be hammy and the execution some times falters, "Don't Look Now" is nevertheless visually striking, Roeg effectively creating an atmosphere of dread (evocative of the spirit of early Polanski but also sufficiently original). My single two favorite sequences were the most tender (the lovemaking) and the most unsettling (the final montage).
Rated 30 Jun 2014
90
89th
The whole thing basically builds towards that extraordinary montage at the end. It's perfect; exquisite.
Rated 11 Aug 2014
39
51st
Erm, so it's like a boring and kind of shitty giallo edition of "Inland Empire" or someshit, for a while, then becomes really quite fascinating somewhere in the last half-hour, unfortunately to land on shitty again at the end. An interesting experiment tho'. Must see more Roeg.
Rated 17 Aug 2014
55
61st
Less interesting and impressive the second time I saw it, though exactly how to interpret the final reveal is still a question that sort of stays with one.
Rated 29 Dec 2014
80
78th
Wow. This has my favorite sex scene and it was made before my parents even got together (lol). Joking aside, it is really heart felt and natural and beautiful and their state of mind afterwards is amazing. A lovely sequence in a sad movie.
Rated 20 Jan 2015
45
19th
What's the Italian for shit?
Rated 25 Feb 2015
80
75th
Crazy art. Crazy, crazy art. Donald Sutherland alternates between scary-good and hilarious. It's glorious.
Rated 30 Apr 2015
85
91st
Slow paced and brilliantly shot and edited. The tension builds up till it all comes together in a haunting finale. No wonder this is an inspiration for so many filmmakers.

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