THE WOMAN IN THE WINDOW hangs a lantern on its obvious homage to Alfred Hitchcock’s REAR WINDOW, but how does Joe Wright’s latest fare when placed into conversation with such a vaunted comparison point? We’re joined again this week by freelance critic Roxana Hadadi to determine just that — the answer probably will not surprise you — as well as the two films’ use of voyeurism as compulsion vs. plot device, their respective “secret protagonists” that prove more compelling and complex than the main characters, and how WOMAN IN THE WINDOW ascribes to the Gilligan’s Island Theory of the “second coconut bonk” (trust us, it makes sense when Tasha explains it). Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar.

Please share your comments, thoughts, and questions about REAR WINDOW, THE WOMAN IN THE WINDOW, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Your Next Picture Show:

Scott: Joyce Chopra’s SMOOTH TALK

Tasha: Otto Preminger’s BUNNY LAKE IS MISSING and Marilyn Agrelo’s STREET GANG

Keith: Basil Dearden’s THE MAN WHO HAUNTED HIMSELF

Roxana: Haifaa Al-Mansour’s THE PERFECT CANDIDATE

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