I found this film a bit hard to get into at first but I stuck with it. It is a film you have to concentrate on. A real chiller that kept me guessing and the ending totally surprised me. Brilliant acting by Donald Sutherland and Julie Christie. The directing is also excellent. Definitely look now as it's well worth watching.

I have to admit the first time I watched this film I found myself feeling really dissappointed. I had heard a great deal about the film before and it was a bit of a let down on my first viewing. However saying that I have since seen this film about 4 or 5 times and that has made a lot of difference.

Don't Look Now is a strange horror film in that it doesn't rely on the usual horror genre staples to be successful. Rather than be gratuitous on the gore, atmosphere and shocks front, Don't Look Now simply presents it's story and the horror almost seems like an afterthought. The tension is slowly built through its running time.

On the whole, this is a fine horror film that will be enjoyed by anyone that is willing to put time and effort into it. It's also worth noting that this film pays it's viewers at the climax with one of the best twist endings in the horror genre.

Please look now! One of the most classic and authentic intense thriller can be titled, Don't Look Now, by Nicolas Roeg, retaining a cult with thriller fans and a masterpiece by a masterful director.
Set in a gloomy Venice surrounding, a well-fit location merging terror and suspense around every eerie turn, leisurely building an unpredictable climax.
The story opens with two children playing outside, in what seems to be an English field, while their parents reside inside the house. The father, played by the explosive Donald Sutherland, is working on some photo negatives when he has a strange revelation, to the shock he runs outside and finds his daughter has 'already' drowned.
Donald Sutherland's pinpoint expressions and movement, Roeg's perfectionist scenes, bringing even the negligible of objects into focus and anticipation, allows Don't Look Now an original yet unusual thriller, a cinema in itself.
Roeg uses paradox as a catalyst, a paradox of a blind woman with uncanny psychic foreseeing vision and the paradox of replacing his dead daughter with...

Set against a dreary Venice backdrop (strange, as Venice is usually portrayed as a rather idyllic and peaceful place), this bleak horror film is overflowing with an eerie atmosphere which builds and builds to a raging climax. While featuring Donald Sutherland and Julie Christie as a husband and wife who's young daughter Christine drowns, leaving them depressed and detached from each other. However, on this trip to Venice, Christie's character meets two elderly sisters (one of them blind) who claim to have powers and tell her they can see Christine. Christie's character then becomes adamant that Christine is still with her parents. Sutherland's character John is unconvinced, until he sees a small figure in the same sort of red mackintosh his daughter used to wear. Yet, there is a serial killer on the loose, and is John playing into their hands? There are many different confusing plot points which keep your mind thinking all the way through, and you are not guaranteed to 'get' this film the first time you watch it. However it should be watched just because of that shocker ending. Even if you know what is going to happen, it still packs one Hell of a punch. Five stars, indefinitely.

Worth seeing for Roeg's dazzling editing techniques and symbolic use of colour. A reminder of what directors like Roeg strived for in the 1970s.

Having read glowing reviews about this "Psycho thriller" I expected a lot.... to say the least. A recent addition to my collection, this didn't disappoint. The story is in no way burdened by it's sense of tragedy, and while ambling along through the beautiful scenery of venice is never less than engrossing. Sutherlands performance as the originally sceptical father must rank among his best as he sways between family stalwart and the vulnerable, fragile protagonist frantically searching through the never more menacing streets of venice for vindication.
Roeg's direction is flawless as he he builds the suspense to one of the most shattering climaxes in cinema history. This revelation, delivered like a sledge hammer to the stomach still has the power to shock modern audiences and in doing so cements it's 'classic' status.