Open Window

This is a quiet, subtle movie that drives its point home without any bells and whistles but very effectively. I especially thought the scenes between Izzy and Peter were moving and well-acted. Even though the film deals with a tough subject, it never felt forced or shoved down my throat or overacted. The film has a very simple structure which allows the complexities of the issue and the emotions to expand and fill up the space. It's too bad this didn't get a theatrical release, although I could see why it was overlooked, because it is so quiet and subtle. That, I think, is its strength but of course a studio exec wants explosions. This movie does fine without them. Robin Tunney and Joel Edgerton's performances are wonderful.

I enjoyed this movie so much. There were great plot twists, and the way the characters lives were intertwining through out the film was entertaining to say the least. I thought the art direction was beautifully executed. I walked out of the theater a little exhausted....but in a good way...I felt like I had been taken on a short emotional ride. I like a movie that can shake all different emotions out of me, and this movie did include some comic relief. I especially liked the scene with Eliott Gould and Robin Terney at dinner, the lighting was beautiful, and the dialog was great...Thank you for this special treat...

Many here thinks this is a great film, and only a couple of reviewers at giving in my opinion a correct picture of the film, since most is quite over-positive. But it's easy to fall off here for the first hour. For me the film first started growing after an hour. The story is more about guilt and communication.

Understand me correct. The film is really well acted, and the cast is good. And this is a film which is OK, but nothing more in a strange way. It's a solid independent film. The problem is - I don't know what should have been done otherwise. Maybe the direction is it. We understand early on that some small things, like opening a window is important, as it's also the title of the film.

The film is like a therapy session after a rape, and the consequences of it. And I'm not opposed to that, but somehow this is also a bit annoying. It's like what we've heard the consequences of a rape might be. What is troubling is the gathering of problems which follow. Sad problems, but is quite depression to see so much if it. Thankfully this changes towards the end.

Everything here is spot on, and I can't point out exactly what is wrong, because it is plausible everything that happens. Still I feel the film seem to be going into a bottomless pit, and somehow both the film and the players deserve more. Maybe it's a story like this which will have this kind of problem.

Somehow the film lacks a nerve for me in the first part. And I'd really like it to be different. Maybe it's me being in the wrong mood. But when the film starts getting interesting, when we're over the part we might guess what will happen. But with the last half our the film is getting to be more interesting for a common viewer. So stick in, even if you fall of after the half hour!

I saw "Open Window" on Showtime and was so captivated by it that I had to see it again. It's really the first time I've seen a movie that shows that there is more than one victim when an act of violence happens to somebody else.

The relationship between Peter and Izzy is real and honest. How can a couple really grasp when something this devastating happens to them? "Open Window" shows this relationship unfold in a way that I haven't seen before.

Some would say that this film has too many scenes where there are two people talking, but it is so much more than that. The conversations between Peter and his father, Izzy and her therapist, etc. are the key to the films beauty. These small scenes let you into the characters so much.

I found the directing, acting and writing so subtle and yet so powerful.

Hopefully, word of mouth will give the film the recognition that it should have had a year ago when it was at Sundance.

Mia Goldman both wrote and directed this fine little film that deals with the butterfly effect of an event affecting a whole family. The subtlety of the film is enhanced by unforced, subtle performances by a solid cast and further enhanced by a quality of filming (cinematographer Dennis Maloney) that creates disturbing images without obsessing over them.

Photographer Izzy (Robin Tunney) is deeply in love with Peter (Joel Edgerton) whose lives are brutally assaulted when Izzy is raped. Unable to cope with the concept and in the midst of a healing phase, Izzy and Peter breakup, consoled by Izzy's mother Arlene (Cybil Shepherd) and father John (Elliott Gould). Once the incident that is the driver of this story is revealed and discussed, the ramifications are bitter. How Izzy and Peter survive the ordeal is beautifully and subtly written and acted. Cameo roles by Scott Wilson and Shirley Knight add depth to the story. This film has some very disturbing moments, but the subject of rape has always and will always be a disturbing topic. How writer/director Goldman handles this is one of the finest moments on film.

It is a pleasure to see Robin Tunney, best known now for her ongoing role on televisions 'The Mentalist', tackle a role so demanding and make us stay with her character all the way. Joel Edgerton is also exception in a tough role. In all, this is one of those unnoticed films that deserves a larger audience.

Grady Harp