Don't Look Now (1973)

This is director Nicolas Roeg's masterpiece, a supernatural chiller with a fear-drenched mood of alienation sustained to an unforgettable climax. The erotic love-making scene between the leads forms the sensual core of the time-distorted vision of terror set in wintry Venice.

The film is one of the most haunting and enigmatic supernatural thrillers ever made, with a mournful heart provided by Sutherland and Christie's believable grieving couple. It singles out the infamous sex scene and devastating ending for particular praise as brilliantly realised and still shocking.

The review calls Roeg’s film a jumpy, melancholic masterpiece driven by emotional desolation and grief, elevated by its prismatic editing and sound design. It singles out the celebrated, elliptical love scene and the way the fractured structure conveys the couple’s isolation and fragility.

A superbly chilling essay in the supernatural about a couple shattered by the death of their small daughter who go to Venice to forget and are sucked into a terrifying vortex of time. Conceived in Roeg's usual imagistic style, it's hypnotically brilliant.

The review praises Nicolas Roeg’s film as a singularly haunting work that blends grief drama with supernatural elements through disorienting technique. It singles out the shocking climax and the way the story uses Venice as a labyrinth of the mind to explore mourning and self-fulfilling prophecy.

The critic finds Roeg's 1973 film still capable of delivering major scares and jump moments while praising its template-setting influence on horror. He singles out the convincing chemistry of Sutherland and Christie as a married couple and Venice's realistic, non-touristy depiction as standout elements.

Roeg's 1973 film remains one of the most dynamic and radical British films ever made, with its non-linear cutting creating an eerie atmosphere that mirrors the characters' grief and mental disintegration in Venice. It praises the film's groundbreaking style and relevance decades later.

The critic finds this re-release of the horror classic largely rewarding despite some dated elements in the plot. The opening sequence is singled out as an all-time great for its masterful staging, acting and editing.

This welcome reissue highlights the strange, doom-laden semi-occult romance in wintry Venice, where bereaved parents seek contact with their drowned child. It remains memorable for the peak-era performances of Christie and Sutherland and the memorable eroticism of their partnership.

Roeg's splintered, subliminal style creates an elegant but chilly atmosphere of dislocation and premonition in this du Maurier adaptation, making it a masterwork of high-fashion Gothic compared to lesser examples. Kael complains that it is ultimately shallow chic without deeper consciousness or emotional engagement.

The review calls the film a fragile horror soap bubble that fails to elevate its Daphne du Maurier source, turning instead into an elegant but suspense-lacking travelogue of Venice after an early twist.

The critic praises Nicolas Roeg's direction for creating menace through compositions and Venice's wintry atmosphere, highlighting an effective love scene and the film's psychic thriller elements centered on a rational man's denial.

The critic deems it superior suspense with subliminal horror, commending Roeg's visual fillips, strong performances especially from Sutherland and Christie, and the careful editing including a notable love scene.

It is an equally striking genre masterpiece and existentialist fable that has lost little of its edge over the decades. Roeg’s rain-sodden Venice, documentary naturalism, jump-cuts, visual distortions and handling of grief through the couple’s experiences are singled out.

It is probably the finest of Roeg’s quartet of Seventies masterpieces, a devastating emotional and highly metaphorical horror film that deconstructs film language and transcends genre. Its technical accomplishment, muted colour palette, treatment of grief and two excellent central performances are singled out for praise.

The critic calls the film an ecstatic meditation on grief and one of the best thrillers of its era or any other, with a sense of inevitable, claustrophobic terror. They single out the dazzling use of color (especially red), editing, sound design, and symbolism of water for praise in conveying the characters' psychological state.