Critics Andrew Sarris and Pauline Kael, pulling together for a change, legislated this thin-soup, pastel-pastoral thriller into the sleeper of 1968. Its proudest achievement is its naughtiness in joking up the subject of matricide. The dialogue, by Lorenzo Semple, Jr. (scriptwriter for TV's Batman), shows an accurate ear for contemporary cliché. A not so happy cliché, however, is the computerized casting of Anthony Perkins and Tuesday Weld as candy-coated psychotics. With Beverly Garland. (1968) — Duncan Shepherd
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