The Woman in the Window (R)
Poor Amy Adams plays a severely agoraphobic woman who believes she’s witnessed a murder in The Woman in the Window, a long-delayed movie (and not just because of the pandemic, as is clear from watching the movie) now available on Netflix.
I mean, like, poor poor Amy Adams, who can be so good (Enchanted! Arrival!) but has just been saddled with some real nonsense lately, to include all the Zack Snyder Lois Lane stuff, the mess that was Hillbilly Elegy and now this. And she tries, she gives this movie more than it deserves, but unlike Emily Blunt, who was the best thing about the otherwise borderline-silly The Girl on the Train, Amy Adams feels a bit like she’s being drowned by all the suspense melodrama.
Anna Fox (Adams) is a child psychologist but it seems like she is currently on a sabbatical and just focused on regaining her own health. Her own psychiatrist (Tracy Letts, the playwright and screenwriter who adapted this screenplay from the book by A.J. Finn) is working on finding her a medication that will help her with her anxiety and depression and with the agoraphobia that keeps her trapped in her thankfully large brownstone. Based on a conversation she has with her husband, Ed (Anthony Mackie), from whom she is separated and who is with their young daughter, Olivia (Mariah Bozeman), Anna spends a lot of her days staring out the window and watching her neighbors. She does some post-neighbor-watching Google-stalking as well, which is how she knows what the Russells, the family newly moved in across the street, have paid for the house and that they don’t have much of an internet presence.
Soon, though, the Russell family bleeds into her life a bit. Fifteen-year-old Ethan Russell (Fred Hechniger) brings over a gift from his mother. His father, Alistair Russell (Gary Oldman), hires David (Wyatt Russell), Anna’s tenant who lives in a basement apartment, to do some handyman work. And on Halloween, when Anna’s candy-free house is being pelted with eggs, Anna, who can barely bring herself to open the door and then faints when she does, meets and spends time with Ethan’s mom (Julianne Moore), who Anna’s snooping has told her is Jane Russell. Jane drops a lot of hints about the possible dark side of Alistair and is just generally kind of oddball in that way that certain Julianne Moore characters can be. But Anna has a good time with her and even seems to have made a friend.
Or has she? Has she even met Jane Russell? And later, when she thinks some harm befalls Jane, what has she actually seen, if anything at all? Despite advice, Anna can’t seem to stop herself from mixing her powerful psychiatric drugs with what seems like a steady stream of red wine. Between this mix of intoxicants and her general jumpiness that has her quick to call 911 at every hint of trouble, not only are police detectives Little (Brian Tyree Henry) and Norelli (Jeanine Serralles) unsure what to believe but even Anna can’t be sure of what she’s seen.
On paper, all of this is fine — Rear Window-ness, unreliable narrator, spacious if spookily lit real estate. And the movie has a cast of solid performers. But I feel like tone is where this movie sort of falls apart. It can’t decide if it’s playing things straight: the drama of Anna’s condition meets the suspense of the mystery of the Russells, or some pulpier blend of suspense and thrills peppered with some very dark comedy. I feel like we get examples of both — with more pulp as the movie goes on — but the lack of tonal consistency makes it hard to, say, enjoy it for the melodrama or take Adams’ performance very seriously. She’s giving A Lot of performance — which also doesn’t seem to hit exactly the right tone ever — but it feels like she is often more serious or more sudsy than the movie around her.
I didn’t dislike The Woman in the Window much in the same way I didn’t dislike last fall’s unremarkable Rebecca or the recent, slightly goofy ghost story Things Seen and Heard. Netflix actually feels like it would be a sensible outlet for prestige, movie star versions of cheap thrillers, higher-budget versions of basic cable movies about shady husbands and Muhr-Der. It’s just too bad for Adams in particular that this movie couldn’t be a nudge or two better. C
Rated R for violence and language, according to the MPA on filmratings.com. Directed by Joe Wright with a screenplay by Tracy Letts (from the book of the same name by A.J. Finn), The Woman in the Window is an hour and 40 minutes long and is available on Netflix.
Those Who Wish Me Dead (R)
Angelina Jolie is a forest firefighter running from flames and assassins to keep a kid safe in Those Who Wish Me Dead, an entertaining-enough action movie available on HBO Max and in theaters.
Hannah (Jolie) drinks too much and does potentially self-destructive stuff like parachuting off the back of a pickup truck driving fast on a wooded road. As her ex-boyfriend, Sheriff Ethan (Jon Bernthal), knows, this tough-lady stuff is all her way of self-destructively coping with her trauma and regret from a fire that trapped her team, resulting in the deaths of one firefighter and a group of kids who were stuck on a hillside. She is punished for this by being assigned to a forest fire tower for a year. On the downside, she is stuck here alone (with no toilet), but on the bright side (not really) it gives her lots of time to stare at the horizon and cry.
On the slightly brighter side, Hannah’s exile means that she is in the woods when the 11-ish-year-old Connor (Finn Little) needs someone to turn to. Connor and his father Owen (Jake Weber) are on the run after Owen’s boss, a Florida district attorney, is killed. Owen believes that the criminal organization (whose representative here is played by Tyler Perry, who is fun and could have used more screen time) that he has been investigating is now after him. Owen heads to Ethan, his late wife’s brother, whose ranch-y home, shared with pregnant wife Allison (Medina Senghore), seems like a good place to hide out. That plan would have been more successful if he didn’t have a picture of Ethan and his ranch hanging on the wall of his house as a big clue for assassins Jack (Aidan Gillen) and Patrick (Nicholas Hoult).
When Hannah finds a frightened Connor wandering in the forest, she is able to convince him that she’s a friendly but they face a series of obstacles: Hannah’s communication equipment has just been fried by a lightning strike. It’s a significant walk into town. Some of that walk will be through what is essentially a field of lightning. Jack and Patrick are on the hunt for Connor. And lastly, a big chunk of the forest they’re in the middle of is on fire.
Angelina Jolie is never not Angelina Jolie in this movie; there is nothing about her that believably suggests a hard-living firefighter. But as a movie star in an action film, she’s fine. She can sell the physicality of the part well enough and once we get over the hump of setting up Hannah’s backstory situation, the movie is pretty immediate-problem-solving-based. The problem is getting through this lightning field, the problem is hiding from Jack and Patrick, the problem is getting Connor in touch with “the News,” which was what his father told him to do if they were ever separated. (That plan has some practical flaws but in the general “don’t worry about it too much, this is an action movie” sense is fine because it gets the information disseminated and removes the point of killing Connor — aside from just revenge, I guess.) Chases through the forest and fights in front of a scary fire-lit background are the point of this movie and it executes them competently. I basically enjoyed this movie as I was watching it — particularly Senghore’s performance and character, she is the movie’s truly believable bad-ass — and while I wouldn’t recommend going out of your way to find it, if you already have HBO Max, it is perfectly acceptable low-effort entertainment. B-
Rated R for strong violence and language throughout, according to the MPA on filmratings.com. Directed by Taylor Sheridan with a screenplay by Michael Koryta and Charles Leavitt and Taylor Sheridan, Those Who With Me Dead is an hour and 40 minutes long and distributed by New Line Cinemas. It is available on HBO Max and is screening in theaters.
Featured photo: The Woman in the Window (R)
