Shochiku-Fuji Company | Release Date: January 16, 1987 CRITIC SCORE DISTRIBUTION
45
METASCORE
Mixed or average reviews based on 13 Critic Reviews
Positive:
3
Mixed:
7
Negative:
3
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63
Our Flick of the Week is The Bedroom Window, which begins as a gripping, Hitchcock-like thriller about an innocent man wrongly accused, but then turns into an unintentional laugh-a-minute with a preposterous conclusion. It's a shame that the film couldn't sustain its tension, because in some ways it is the best traditional thriller since "Jagged Edge." [16 Jan 1987, p.A]
63
Worst of all, though, is Huppert. This fine actress, who has been so effective in European films, walks through her part. Her last American film was Heaven's Gate. For her own sake, she should stay away from Hollywood. [16 Jan 1987, p.D5]
60
The Bedroom Window engrosses you in theory more than practice. As a thriller, it has elements that many recent Hitchcock pastiches have lacked: interesting characters and a somewhat complex plot. But perhaps this story simply looks good by contrast. The movie also lacks sheer juice and voltage. [16 Jan 1987, p.C17]
50
The Bedroom Window is not at all an unskillful film, but that, in some ways, is what is most discouraging about it: Hanson is more than good enough to do something of his own. In its drive to imitate the past, Hollywood is leaving itself without a present. [16 Jan 1987, p.L]
50
DELIGHTING the senses but leaving the emotions unscathed, a stylish thriller delivers exactly the same punch as a frantic roller-coaster ride - ambling up here, speeding down there, twisting, turning, big finish and off. The goal is nothing more (or less) than fun pure and simple. [16 Jan 1987]
50
It's an erratic and, finally, disappointing picture (it loses its snap). Yet you keep rooting for it, because Elizabeth McGovern, as the assault victim, a cocktail waitress, has the style and resources that the other two leads lack, and the cinematography, by Gil Taylor, his a snazzy verve, and Hanson has some clever ideas, such as the way he sets up a courtroom sequence and the way he directs the almost mute psycho (the chilling, well-cast Brad Greenquist).
40
Tampa Bay TimesThomas B. Harrison
The only highlights in this farce are Wallace Shawn's brief comic turn as the killer's attorney, and Mark Margolis' portrayal of a man who'd rather fight than let Terry into his phone booth. I applaud his integrity. [16 Jan 1987, p.3D]