Ethan is afraid of his father, and yes, Anna has totally met Jane. Ethan and Jane both visit Anna, who is so bleary-eyed with booze that she doesn’t quite remember all the details. There’s sensitive son Ethan (Fred Hechinger, quite good), tense father Alistair (Oldman, screaming a lot), and sassy mother Jane (Moore, who nails the sense that her character doesn’t quite fit the rest of the family). When a new family moves in across the street, Anna’s attention is drawn immediately, probably because she’s bored but also because, like everyone else in “The Woman in the Window,” the Russell family needs to invest in more comprehensive window coverings ASAP. One thing holds her together: talking to her estranged husband Ed (Mackie) and daughter Olivia (Mariah Bozeman) who are - well, they’re somewhere else, let’s leave it at that.

“The Woman in the Window” Melinda Sue Gordon / Netflix Inc. She spends time by drinking wine and watching old movies - a fine holdover from Finn’s book - though her other activities and relationships have been mostly jettisoned from the threadbare script. Weekly visits with her own shrink (Letts) feel more threatening than anything, but at least he encourages her habit of spying on her neighbors (curiosity about the world, he reasons, is a good thing in someone prone to suicidal thoughts) and gives her all the drugs she needs. The broad strokes are still in place: Anna is housebound (the film’s single setting, her messy Harlem rowhouse, is a beautiful piece of production design) and, despite her background in psychology (her specialty is kids, an element that becomes farcical as the film winds on, something the book managed to avoid), she doesn’t seem to be getting better. More than thrills and chills were snipped from the story we can only presume that basic coherency also wound up on the cutting-room floor. Plus, there’s a bafflingly loose interest in her agoraphobia, a countdown conceit that flattens the tension, and a series of over-the-top characters who only exist to deliver bad exposition. A stripped-down script does away with nearly every element that makes Anna (Adams) sympathetic or credible. Animated Series ‘Mulligan’ Finds the Comedy in a Post-Apocalyptic AmericaĪrriving on the streamer almost two years after it was originally slated to hit theaters, Wright’s “The Woman in the Window” isn’t cursed - that, at least, would be interesting - and is instead something far worse: boring.

Woman in the window by aj finn