Nicolas Roeg's psychic thriller, taken from a death-in-Venice story by Daphne Du Maurier, is largely feints and loose ends. What with the free-swingingness of the camerawork and the jaggedness of the cutting (the celebrated Julie Christie-Donald Sutherland lovemaking bout comes out looking like Illustrations A through J in a Danish sex manual), Roeg achieves little continuity and still less momentum. But he does sneak some occasional edginess and portentousness into the strange story developments. (1973) — Duncan Shepherd
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