Drama / Thriller

Rotten Tomatoes Audience - Spilled 7%
IMDb Rating 4.7 10 451


Uploaded By: FREEMAN
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August 18, 2017 at 11:45 AM



Talia Shire as Emily Hollander
Bette Davis as Charlotte Vale
Elizabeth Ashley as Andrea Glassen
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689.44 MB
23.976 fps
1hr 36 min
P/S 0 / 1
1.43 GB
23.976 fps
1hr 36 min
P/S 0 / 5

Movie Reviews

Reviewed by Scott LeBrun 5 / 10

Too much wasted potential here.

"Windows" is a leisurely paced, not terribly interesting drama about meek New Yorker Emily Hollander (Talia Shire of "The Godfather" and "Rocky" fame). She is targeted by a neighbor, Andrea Glassen (Elizabeth Ashley, "92 in the Shade", "Coma"), an unstable lesbian. Andrea will go so far as to hire a scummy cabbie (Rick Petrucelli) to assault Emily and record her cries and moans. The balance of the story details what happens as Andrea continues to obsess over Emily, and the latter is attracted to a nice guy detective (Joseph Cortese, "Evilspeak", "Monsignor").

Renowned cinematographer Gordon Willis ("The Godfather", "Annie Hall") made his first and only directing effort with this film, which is not all that successful, unfortunately. If he had fully embraced the trashy elements of this material, that would have been one thing. It may have been distasteful to some viewers, but at least it would have been more entertaining than this. Willis directs it like an art house film, and it is lovely to look at (after all, he also served as his own cinematographer), but it's fatally bland.

And speaking of bland, Shire and Cortese are dull as dishwater. It's hard to imagine why Ashley would have much interest in her, or why she would have much interest in him. The only main performer here who's even slightly intriguing is Ashley, who plays her lovelorn, disturbed character more low key than you might expect.

Other than Ashley, the principal value lies in Willis' lighting and the pleasant music score by virtuoso composer Ennio Morricone.

Otherwise, this is not one film that this viewer would easily recommend to potential viewers.

Five out of 10.

Reviewed by Der_Schnibbler 5 / 10

"Open your mouth. Say...'aaah...'"


This is an excellent movie about obsession. A deviant homosexual woman (there's a redundancy) secretly obsessed with her friend hires someone to rape her and tape record it, then proceeds to observe her from afar while doing various things to torment her.

I wasn't expecting much at first but the film's dark, unrelenting tone gets to you after a while. The best part, however, is the performance by Elizabeth Ashley in the end. Using nothing but her facial expression and voice, she goes through such a range of emotion that is at once captivating, vulnerable, attractive, and plain sick and twisted.

I'm having trouble understanding why the rest of the comments her speak negatively about this movie. Most of them seem to be written by the brainwashed, imbecile masses of today's Zeitgeist who take issue with the psychopath being a homosexual. It's as if these dimwits cannot even so much as entertain the idea that a movie could have a homosexual psychopath and it does NOT necessary imply all homosexuals are crazy (though any person who still believes in reality will readily admit not all the wiring is put together right). And so we get the bleating, whiny chorus of "homophobia!!" "They made a movie that says something bad about a lesbian! They're scared of lesbians! Fear! Fear!!!" Silence, you pathetic dolts.

Another desensitized, callous genius made a comment about frozen cat scene eliciting laughter from him and his friends. Who are the bleeding psychopaths now, huh? Another winner brought up the exchange, "She kept saying she loved me" with its response, "In her own way, she did" as proof of why the writer supposedly never received work again. The exchange is by the victim and the cop who was helping her in the end. The cop saying "in her own way, she did" is meant IRONICALLY. But today's low-IQ generation, having spent more time in the American public high schools learning how to not hurt anyone's "feewings" than developing critical thinking skills (critical thinking challenges the PC religion and that's all sorts of "racist/homophobic/xenophobic/blind-phobic/midget-phobic," as nauseam) seems to have lost all ability to grasp irony.

The film does have its faults. Who would be obsessed with Talia Shire? The woman is ugly as sin. The soundtrack sometimes falls trap to that '70s melodramatic saxophone-laden style, almost like what you'd hear in some private detective show.

Elizabeth Ashley, however, more than makes up for everything, especially with that killer performance at the end.

Look. If you're not a desensitized, politically "correct," brainwashed little piece of crap who lives his slave's life looking for things to feel "offended" by, and if you still know how to enjoy a film for what it is, then you should definitely find this effective.

As for the rest, go watch something safe and non-threatening, like "Transformers," you sad sacks. And while you keep parroting the party line, don't forget to continue paying your taxes while creating more future tax slaves as you wait to die.

How pathetic that you can't even read a halfway intelligent comment on a film anymore without some backwards freak bleating about "homophobia" or the host of other pillars of this pathetic, cultural Marxist religion that's gripped the dying West today.

What a hellish time to be alive.

Reviewed by jacegaffney 7 / 10

Genuinely Disturbing

WINDOWS reminds me of REFLECTIONS IN A GOLDEN EYE. When REFLECTIONS came out in 1967, it had the book thrown at it for being deviant, sick, perverse, reactionary, offensive, pretentious (which is such a mouthful that it makes one believe that the hater(s)doth protest too much). On top of these epithets, was the final body blow, and "just plain boring." It's difficult to be all of the above and be "just plain boring" to boot which is the reason I was compelled to check out both movies. I'm glad I did. WINDOWS is not the outright triumph REFLECTIONS IN A GOLDEN EYE is, but it's thoughtful and original about something that shouldn't be dismissed by film lovers out of court. It's not sleazy or exploitative; as a matter of fact, that's a major problem with it. It refuses to further sensationalize its wildly lurid "givens." It's artful enough in its intentions to try to suggest that the tragedy of urban life is not the violence of melodramatic evil, but the glass cubicles people live in that link and separate them in devastatingly emotional ways. Gordon Willis' direction is typical of a first time director. It suffers from being too studied but it's far from daft or moronic; visually, it's as thought through as REAR WINDOW, its obvious predecessor in voyeurism. But there's nothing in REAR WINDOW, as seriously naked and exposed as Elizabeth Ashley's performance. It's interesting that when great actors like Brando (in REFLECTIONS IN A GOLDEN EYE), and Ashley in WINDOWS attempt something that goes beyond the average viewer's opinion of how a homosexual SHOULD be portrayed, there's is an automatic reflex action on the part of said viewer to distance themselves from the performance, to laugh at it or automatically dismiss it as being "over the top." This response is, in fact, more reactionary than the sins that have been dumped in the picture's lap. WINDOWS is not as dumb or insensitive as the knee jerk response it provokes in most people who feign an interest in the dark side until it becomes too real.

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