Metacritic reviews

The Woman in the Window succeeds when it comes to constructing an adequate cinematic language to tell the story of its original source material, but tends to overcompensate for its narrative shortcomings.

Watching the overqualified likes of Adams, Moore, Leigh, Henry, Oldman, et al. get tangled up in this gaslighting mystery is, admittedly, one of the pleasures of The Woman In The Window.

I could see The Woman in the Window becoming a kind of channel-surfing cult classic. But not as long as Rear Window is out there somewhere, too.

A B-movie effort from an A-list production team, Joe Wright’s The Woman in the Window buckles beneath its aspirations almost immediately.

The Woman in the Window never manages to transcend the impression that it’s merely being clever.

The Woman in the Window is so silly and broad that it begins to border on camp, and I have a feeling this could become the type of cheesy dreck that people get a hoot out of if they follow Anna’s lead and down one or two or ten bottles of wine. By the time the film climaxes with multiple predictable but utterly preposterous twists, you’ll probably be reaching for a bottle yourself.

Curiosity might bring you here but boredom will drive you away.

The Woman in the Window is filled with dramatic touches such as a dizzying overhead shot of a staircase, a skylight just begging for someone to come crashing through, pieces of evidence conveniently left lying about and visual references to far superior noir thrillers, including the aforementioned “Rear Window.” It’s also filled with cheap scares, false alarms, dumb cops, loud storms and tricky camera angles designed to make us feel as disoriented as Anna. The only thing those elements really succeed in doing is giving us a headache.

It’s the cinematic equivalent of a window not worth opening. Pull the drapes closed, it’s curtains for this one.

The long-gestating thriller The Woman in the Window, based on A.J. Finn’s novel, is here, and it sure is dusty.