• Dan O'Sullivan

    ★★★★ Watched by Dan O'Sullivan 11 Dec, 2014

    Rating could easily go to eleven on second view. I know it's lusciously painfully frustratingly well-made. I'm just not sure *why.*


  • Juan Pazos

    ★★★★½ Watched by Juan Pazos 30 Nov, 2014

    Nicolas Roeg is a visual master with a unique imagination. He clearly wants to disturb and provoke his audience, and that’s what he’s a master at, with tools such as photography, editing and symbology. Also there’s a great beauty and strong spiritual quality in his movies. It’s always a profound experience that stays with you for years. I can still vividly remember frames of “Eureka” and “The Man Who Fell to Earth”. It became part of my dreams.

    I’d call…


  • Jordan_The_Bailiff

    ★★★★ Watched by Jordan_The_Bailiff 19 Nov, 2014

    This film is proof that horror can be just as effective without showing you anything at all, but at the same time have some of the most terrifying visuals.

    Also, the opening sequence of this film is some of the greatest cinema I have ever witnessed.


  • Jay1996

    ★★★★½ Added by Jay1996

    A textbook for using montages.
    A great director mastering in using montages to evoke people's emotions.
    Three time dimensions were crossed over.
    Creative way of shooting the sex scene.
    Comparable with "Walkabout"


  • Chris Ward

    ★★★★ Watched by Chris Ward 21 Nov, 2014

    Creepy '70s horror thriller with wonderful performances from both leads.


  • Ben G

    ★★★ Watched by Ben G 19 Nov, 2014

    I looked *now*.

    It's clear from the first few minutes of DON'T LOOK NOW why it's so influential and highly praised, given how subversive it was in both content and execution. For me, there are two standout scenes - Sutherland dangling from scaffolding and the famous, shocking ending. Credit is due for the unconventional editing and use of motifs throughout (water, for instance, although I don't know if Venice was the best place for John and Laura Baxter to go…


  • Ryan Gelley

    ★★★★ Watched by Ryan Gelley 20 Nov, 2014

    Donald Sutherland is excellent and well dressed in this superior supernatural thriller by personal fave director Nicolas Roeg (Walkabout, The Witches, The Man Who Fell To Earth).


  • Blain Granado

    ★★★★★ Rewatched by Blain Granado 19 Nov, 2014 5

    Just gets more haunting with each viewing. Easily has one of my favorite endings of all-time. Most astonishing editing in the medium too. Best of all is that Criterion will be releasing a blu-ray of this sucker on February 10th, 2015. That will be the greatest day of my life. I get chills just thinking about the color red in HD. WAH!


  • Craig Lindsey

    ★★★★ Watched by Craig Lindsey 30 Sep, 2014

    Wow, movies from the '70s REALLY didn't mind ending a down note, did they?


  • Bouillotte

    ★★★½ Watched by Bouillotte 15 Nov, 2014

    Honestly, that movie was pretty weird. I'm not really sure what it was about. Still, charming seventies mood.


  • Ned Ryerson

    ★★★½ Watched by Ned Ryerson 05 Nov, 2014


    Roeg effectively disrupts the (brief) sense of normalcy and the process of healing with jarring editing techniques. Labyrinthine Venice and its disintegrating facades transforming into a psychological state of mind is cool. You truly believe Sutherland and Christie are an actual married couple (that they were off-screen lovers probably helps). But I have to admit its placement on the Sight & Sound Poll (the 107th best film of all time?!) baffles the hell out of me, mainly because its supernatural…


  • Clint Cullum

    ★★★★★ Rewatched by Clint Cullum 01 Nov, 2014

    I suppose Nicolas Roeg's superb thriller might accurately be called a giallo, albeit an unusually subtle one with a low body count. Nevertheless, despite a scarcity of set pieces, Roeg's fragmented editing, use of space, and photographic harbingers creates one of the most unsettling and atmospheric of horror films. Like Jack Torrance in THE SHINING, Donald Sutherland represses certain visionary gifts and both men ultimately pay a steep price for their spiritual denial.