Seconds (1966)

O’Connell presents the film as a striking, unsettling work of existential terror and paranoia. He singles out its disorienting cinematography and Rock Hudson’s revealing performance for praise.

Weber finds Seconds a bleak, visually striking film whose restoration enhances its Kafkaesque descent. He especially praises James Wong Howe’s disorienting black-and-white cinematography and the transfer’s depth and detail.

Adams finds the film unsettling, audacious, and stylistically daring. He especially praises John Hudson’s performance and the film’s agitated visual style.

The critic calls the film brilliant, frightening, and years ahead of its time. They praise its stark black-and-white cinematography and Rock Hudson’s performance.

Gill finds Seconds exhilarating and ultimately delightful despite its bleak theme. He praises its superb plot and James Wong Howe’s varied, ravishing camerawork.

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The available page shell identifies this as a review but does not reveal the critic’s verdict. Its standfirst highlights the banker’s transformation into a new identity, but provides no specific praise or complaint.

The review finds the film intriguing but ultimately unsuccessful as a thriller, science-fiction story, or philosophical fable. It praises the original treatment of suburban boredom and the yearning for a chance to begin life again, while faulting the underdeveloped Faustian theme.

Timms calls the film possibly the bleakest ever made and says it has become a modern classic. He praises its critique of society’s obsession with youth and success, and celebrates the Masters of Cinema release.