More a triumph of tone and texture than of storytelling....But what makes Don't Look Now one of the creepiest movies of all time is the artful way director Roeg leads us around blind corners and down dark alleys (both literally and figuratively), straddling the line between reality and mysticism. [4 May 2001, p.4]
Time has tamed some of the terror and eroticism of Nicolas Roeg’s Don’t Look Now, but it’s still a haunting thriller about guilt and the supernatural. What’s notable (more notable even than the much celebrated bedroom scene between Julie Christie and Donald Sutherland, in which sex is displaced into memory even as it’s taking place) is that Roeg’s use of the death of a child as the focus of a horror film never feels exploitative.
A fragile soap bubble of a horror film. It has a shiny surface that reflects all sorts of colors and moods, but after watching it for a while, you realize you're looking not into it, but through it and out the other side. The bubble doesn't burst, it slowly collapses, and you may feel, as I did, that you've been had.Not only do you probably have better things to do, but so, I'm sure, do most of the people connected with the film.