Newsweek (International, Atlantic Edition) 1973-12-24: Volume 82, Issue 25.Digitized from IA1504519-06.Previous issue: sim_newsweek_1973-12-17_82_24.Next...

This is one of those movies that keeps on giving – its gothic moodiness is impossible to shake off. Julie Christie is at her most lumininescent and Do

Nic Roeg's haunting story of death in Venice.

Facets hosts a lineup of “Alternative Horror” films for the Halloween season.

★★★★★ Few films have stood the test of time as well as Nicolas Roeg’s seminal horror Don’t Look Now. Revolving around the omnipresent theme of...

Read the Empire Movie review of Don’t Look Now. Along with Peter Weir's Picnic At Hanging Rock, made two years later, Don't Look Now is one of the...

The director never bettered this story of death and Venice starring Julie Christie and Donald Sutherland

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...primarily an achievement in hallucinatory editing.

After the one-two punch of “Walkabout” and “Performance,” cinematographer-turned-director Nicolas Roeg turned to the work of Daphne du Maurier for hi...

Time may heal all wounds, but it has done nothing to dispel the intensity of Nicolas Roeg’s “Don’t Look Now” (1973).

This ghostly 1973 adaptation of Daphne du Maurier’s short story is a masterclass of staging, acting and editing.

The heart of Roeg’s film, from 1973, is a couple’s shared grief, and the tricks of the mind that it plays on them.

Don't Look Now, Nicolas Roeg's nighmarish and atmospheric 1973 classic, takes the viewer on a winding, unpredictable trip that starts as a meditation on grie...

The hero of “Don’t Look Now” is a rational man who does not believe in psychics, omens or the afterlife. The film hammers down his skepticism and destroys

John doesn’t know it, but he has the gift of precognition: He knows in advance when terrible things are going to happen. He somehow senses, for example, that

One of the greatest and most devastating of all romantic mysteries arrives just in time for Valentine’s Day.

It figures that the sex scene from Don’t Look Now has become more legendary than the film itself.

Nicolas Roeg’s chilly examination of grief and memory still looks ahead of its time.

This British-Italian suspenser, in which the horror gets to one almost subliminally, as in Rosemary's Baby, is superior stuff. It can be 'read' on two levels...