User reviews

One of the first moments of this movie makes inevitably think of "Shining" (1980) by Stanley Kubrick and "Funny Games" (1997) by Michael Haneke: an aerial shot which follows a car on the highway. Inside it, a typical French family who goes on holiday in their country house hoping to find some peace. It's particularly true for the parents, Michel and his wife who seem to be all keyed up because of their restless children. On a rest area, Michel meets an old school friend: Harry who proposes Michel to come and spend a couple of days to his country house. The latter accepts. From the beginning, Harry appears as a charismatic and mysterious character. Who is he? Where does he come from? What does he want? We learn very few things about him or just vague facts. The director Dominik Voll preferred to leave high and dry Harry's origins and it's better this way because the spectator can imagine whatever he wants about him. Be that as it may, we can bring a beginning of answer to the third quoted question: Harry wishes Michel well and he's ready to do anything for this, even to kill...

After a six-year absence (his last movie was "intimacy" in 1994), Dominik Voll made a successful comeback with "With a Friend like Harry" (2000). He seduced both the critics and the public and won 4 French Oscars in 2001 including Best Actor for Sergi Lopez. It's funny to note down that the basic idea for his second feature-length film came to him from a holiday memory when, just like Michel he met an old school friend which he hadn't seen for years. This trivial detail inspired him to focus his movie on the theme of the double. Besides, the first apparition of the two main protagonists happens in front of a mirror. Harry can be considered the incarnation of Michel's repressed drives and buried desires. In a way, he's what Michel would like to be or to do (consciously or not). I think there are numerous examples in Voll's opus and I will retain the three following points: Harry enjoys a perfect sexual life (eating a raw egg after an orgasm is good for health!) and perhaps Michel would like to know something similar to this. Then, Harry kills Michel's parents and every time the latter invites them for lunch or dinner, he has to fetch them: his father can't drive for medical reasons. Perhaps, Michel has hidden death wishes about his parents. At last, by congratulating Michel about the writings he made in high school, Harry probably wakes in Michel hidden desires of writer. Roughly, Harry wants to help his friend to advance in life, no matter what the price is.

"With a friend like Harry" is Voll's second film in six years but his making is absolutely awesome. If the beginning of the movie turns out to be a little trite:how many times in cinema have we seen the trick of the helpful character invading a so far peaceful universe? But fortunately, once this moment passed, the rest makes forget this weakness. The movie adopts a slow rhythm without hastes and opts for the unexpected to play with the spectator's nerves. Dominik Voll weaves a more and more heavy even stifling atmosphere marked out by Michel's psychological changing who seems to become a little unrecognizable to his wife. Besides, she tells to Harry: "you've got a bad influence on Michel". This heavy atmosphere is reinforced by a precise and rigorous making which favors close-up shots and the length of quite numerous sequences. Overrall the director achieved a tour de force by mixing several cinema genres in a coherent story. What is close to comedy in the beginning of the story ends up turning to drama and thriller and the abrupt changes of tone follow on from each other with a diabolical logic. Moreover, Voll knows how to use black humor and certain moments give sometimes to the work an eccentric side.

Needless to say that the cast is largely equal to the story. Already remarked in the invigorating "Western" (1997) by Manuel Poirier (whose he is one of his favorite actors), Sergi Lopez finds the role of his life in Harry. It will certainly be hard for him to equal his performance in the future.

Highly recommended, "With a Friend like Harry" is a work that can be understood on several levels. It's a fascinating work and however we come out of the projection with a little uneasiness because of Michel's disturbing face. Harry's influence has altered him and he looks threatening as if he was going to commit something bad. As for Harry, in the domain of the pain in the neck characters, he is, in the long run, not exactly like Seraphin Lampion in "the adventures of Tintin"!

There is something alarming and off-kilter about Harry from the moment we meet him; his casual way of speaking about orgasms and forgotten childhood poems to (essentially) complete strangers just a few hours after their first meeting only intensifies our suspicions. Sergi Lopez gives a brilliantly unnerving yet subtle performance as Harry, and he's the best reason to see the film. But not the only one. The director is able to present characters, situations and family tensions that are thoroughly believable, thereby drawing us deeply into the story. The acting is first-rate, the camerawork excellent; what the film needed to help it move into the realm of "great" was a little more snap. (***)

The debut of french director Dominik Moll is a brilliant movie that follows Hitchcock's school of classic suspense to the letter, while keeping the directors own modern style in a psychological thriller reminiscent of David Lynch.

Laurent Lucas stars as Michel, father of a middle-class family that goes on vacation to their house in rural France. On a gas station he finds Harry (played by Sergi López), a rich man who went to high school with Michel and that is traveling towards Switzerland with his girlfriend Prune (beautiful Sophie Guillemin). Michel invites Harry to his house, because even when he can't remember who Harry is, it seems as if Harry remembers everything about Michel.

The problems of Michel with his parents and his wife Claire (Mathilde Seigner) will come to light as Harry intrusion becomes more apparent and Claire begins to wonder how healthy is Harry's influence over his husband.

The story moves at a slow pace building the suspense and the tension between the characters to a maximum. Nevertheless, the direction and the script make sure that this slow rhythm will not become boring or tiresome and the movie works very wheel filled with interesting scenes that give everything you NEED to know about the characters, but not everything you WANT to know about them.

This classic take on suspense and mystery, that many have tried with mixed results, works very good here thanks to the wonderful script that adds scenes of bizarre surrealism that while serve the purpose of breaking the suspense, they also increase the tension and mystery surrounding their characters.

It's worthy to mention the superb acting of those involved. Lucas, Seigner and López have a good chemistry on screen that clearly helps the movie to be as powerful as it is.

By the end of the movie the tension is at it's peak and the script makes the most of it giving a brilliant finale that even when it is very simple it is both mysterious and rewarding.

This is not the typical thriller with horror/suspense. It's a modern update to the classic suspense style of film-making that Hitchcock did so well. 8/10

When I rented this movie I thought I was in for a black comedy, but when Harry approached Michele, his old school mate, there was something ever so slightly creepy about him. Nothing you could your finger on, it just felt not quite right... From that point onwards Harry was always there, remembering word for word a poem that Michele had written while at school, remembering Michele's story written years before. Harry was so nice, so attentive and yet so odd... Was Harry in love with Michele?

Your instinct tells you something's not right but you keep watching, hoping that you can figure Harry out, giving him the benefit of the doubt, while all the while your gut instinct is that this guy is trouble, he's a manipulator, he's calling the shots, and yet you push those thoughts aside as he's so charming.

This film held my attention, I was hooked right from the start. It's classy, understated, with a wealth of detail in the merest glance. With a subtlety that you rarely see in US or UK movies. If you like lots of action, you probably won't like this movie, it moves inexorably onwards to what you sense is going to end in tears.

A very good movie, not to everyone's taste, but if you like subtlety, classy acting, and an insight into how a psychopath can insinuate himself into your life, this movie's for you.

The major flaw with this film is that Harry's motivation for his patronage of Michel and Claire is never fully disclosed. It obviously has something to do with wanting Michel to start writing again, but I was waiting for the entire film to find out what Harry is really after and I never did. Character-driven stories are all about motivations and desires, and these are lacking in this, a very character-driven film, which harms rather than helps it.

Moll has obviously overdosed on Hitchcock and especially "Strangers On A Train". But unlike with De Palma, it's not a bad thing. Lopez is excellent as the charismatic dark side. It's an interesting premise, that the film is allowed to develop and then not deliver the final modern Hollywood twist. Catch it.

With a Friend Like Harry is a jewel of its kind, Hitchcock would love it. Consider that most of it takes place either indoors or outdoors at night or on menacing serpentine roads. Very claustrophobic effects, just like the master himself. And it is devoid of the usual clichéd homages & in-jokes that prevail in the usual Hitchcock wannabe film. It builds smoothly & menacingly, with perfect tempo, the characters are believable to the point of banality - again, just like the master's very best films. But over & above the expert elements of suspense & character & humor that pervade this movie, I would like to add that it is a delicious contemporary reading of the universal Faust legend & to me that is it's ultimate brilliance.

Few things make me feel so uncomfortable than stories about unnaturally friendly people that infiltrate into the life of normal people and then turn out to be total psychos! That is probably because these stories are a confronting reminder that the majority of us (myself included) are unnecessary polite cowards, and we could easily avoid a lot of trouble if we were just a bit more assertive and honest. Like Michel and Claire, the couple in "Harry, un ami qui vous veut du bien". If they, at the fuel station in the beginning of the film, had the guts to say: "Sorry, Harry, but we haven't spoken in twenty years and we were never even that close to be begin with, so I don't see a reason why you should accompany us on our holiday trip", well, then nothing awful would have happened.

On the other hand, of course, you can't deny this sort of stories are identifiable and disturbing, and thus they work very effectively as thrillers. "Harry, etc." is one of the most known and acclaimed (since it was shown at Cannes' Film Festival") titles in the genre, and a very good film overall. It's not the best of its kind, in my humble opinion. If you like the formula of "stranger-danger", make sure to check out the 2022 "Speak No Evil" by the Danish writer/director Christian Tafdruk.

Claire and Michel have a busy and stressful life. They work hard throughout the year and raise three energetic daughters, and rather than relaxing during their well-deserved summer holiday, they renovate the old and ramshackle cottage they bought in Switzerland five years ago. They're on a tight financial budget, and Michel also constantly must play chauffeur for his ageing parents. When Michel runs into Harry, with whom he went to high school, the contrast between them couldn't be bigger. Harry is rich and totally carefree, with only a beautiful trophy-wife by his side. Harry invites himself to Michael and Claire's cottage, and gradually starts doing things to make Michel's life "easier". In fact, what Harry really wants is for Michel to start writing poetry and silly Sci-Fi stories again, like he did in high school.

Dominik Moll's film bathes in a continuously uncanny atmosphere, and benefices greatly from the powerhouse performance by Sergi Lopez as the unpredictable and megalomaniacal creep Harold "Harry" Balestrero. We all know, from our own circle of friends, that one person who doesn't understand when he/she outstayed his/her welcome, right? Well, Harry is that person multiplied by a thousand. His behavior and interpretations of what life's priorities should be are insanely surreal. And that is also the biggest weakness in "Harry, un ami qui vous veut du bien", I think. The script can never be taken seriously and remains circling around in black-comedy territory. The very best titles, like the aforementioned "Speak No Evil" dare to go further.

PS: I definitely do want to watch a film version of that "Flying Monkeys" story, though!

When the film begins, Michel is in the hot car with his wife and three small kids. It's summer and there's no air conditioning...and it's not surprising the kids are behaving like brats and Michel is at his wit's ends. When the family stops for a break, Michel goes to the bathroom and there an old acquaintance, Harry, recognizes him...though Michel cannot recall the guy. It seems that Harry is a major fan of Michel and has lots of fond memories of the guy...and Michel is just dumbfounded. Despite this, when Harry invites himself and his girlfriend to their home, Michel agrees and they all have a lovely evening together.

During this evening, Harry inexplicably recalls a poem that Michel wrote when he was a teen. Despite decades having passes, he even remembers this poem word-for-word and Harry decides to take on a new project--to get Michel to begin writing once again. While this seems like a laudable goal, it soon gets strange. First, Harry decides that the hot car isn't what a writer needs and when it breaks down, he impulsively buys Michel and his family a new SUV with air conditioning!! Given that they barely know each other, this is very strange. Second, Harry isn't about to stop at just buying his old colleague a car...he'll remove all the distractions from Michel's life...whatever they might be!

This is a very dark and enjoyable film. It's also, in a sick way, a bit of a comedy. Fortunately, it's unique and keeps your attention- -and it's well worth seeing--especially for the strange yet satisfying ending. The film is taut, unusual and well written.

I saw all the ads proclaiming this a brilliant, surprising thriller. it was fairly well done, but nothing surprising here, save possibly the lack of frontal nudity in a wide-release French film. The story seemed for all the world to me like a remake of an American movie.

Don't believe the hype, don't expect too much, and you may enjoy this film.

Michel (Laurent Lucas), his wife Claire (Mathilde Seigner) and their three little daughters Jeanne (Victoire de Koster), Sarah (Laurie Caminata) and Iris (Lorena Caminata) are traveling to their cottage in Switzerland to spend summer vacation. When they stop the car, Michel goes to the toilet and a man stares at him. Soon the man introduces himself as Harold "Harry" Balestoro (Sergi Lopez), who studied with Michel in high school and knows him very well. When Michel and his family go to their car, Harry parks his Mercedes Benz and introduces his fiancée Plum (Sophie Guillemin) to the couple and invites themselves to travel to Michel's house for a drink. Later her recalls by heart a poem written by Michel and shows that he was obsessed for Michel. Harry is surprised that Michel does not write anymore and tells that he is wealthy since he has inherited his father's investments. Michel and Claire are middle-class and are still repairing their cottage by themselves. Harry and Plum stay for the night in the guest room and in the morning, Harry gives a 4x4 V6 Pajero to his new friends. They do not accept but Michel needs to bring his parents to see their granddaughters and drives the truck. He brings his mother (Liliane Rovère) and his father (Dominique Rozan) that immediately recognizes Harry. He feels tension between Michel and Claire and his parents and Harry and Plum move to a nearby hotel. During the night, Harry decides to help his friend, showing that he is a psychopath that turns Michel's life upside down.

"Harry, un ami qui vous veut du bien" is an impressive thriller with a lighthearted beginning that turns into a very dark story. In the release year (2000), the impact of this film was great, highlighting the top- notch direction and performances. Sergi Lopez in the role of a nice psychopath and the gorgeous Mathilde Seigner in the role of a mother with three annoying children are amazing. Presently this film is still excellent but more predictable especially if the viewer saw it once. My vote is eight.

Title (Brazil): "Harry Chegou para Ajudar" ("Harry Has Arrived to Help")

'Harry' is a portrait of a marriage. Reviewers have pointed out the film's debt to Hitchcock - why do people always call films which 'borrow' the superficials (plot, music, characters, set-pieces etc.) Hitchcockian, when his true inheritors are directors like Godard and Marker? - but his oeuvre only contains two notable films about marriage, 'The Man who knew too much' and 'The Wrong Man'. These films show marriage cracking under the strain of some exterior threat.

'Harry' begins with a marriage already at crisis point - symbolically confined in an old car without air conditioning, driving towards a delapidated country house, young children bawling, mother unable to do anything, father getting increasingly frustrated, all seat-belted for greater entrapment. I remember it well. Laurent Lucas is the new Francois Cluzot, the grim, unhappy, modern man conspired against by circumstances that are not melodramatic, but everyday; financial, parents, frustrated ambitions etc.

If this is Hitchcock, it is a French version as mediated by Chabrol - there is the same contrast between the artificiality of the plot and the natural surroundings that stage it. This opening of a car, a family, classical music, the drive to a summer retreat, the intrusions of two strangers, remind me of another recent European thriller, Haneke's 'Funny Games'.

The film borrows from a lot of Hitchcockian sources - 'The Man who knew too much', 'Vertigo', 'Psycho', 'The Trouble with Harry' (in reverse), especially 'Strangers on a train' - Harry's character is sometimes more Highsmith than Hitchcock, a mixture of Tom Ripley and Dickie (here it is the rich man who wants to belong with the less well-off).

The meeting of Michel and Harry is signalled with HItchcockian criss-cross; ominously, in a public lavatory. There is a sense of magic or fairy tale here, as the two characters and their reflections reunite and fragment at the same time, suggesting a transformation scene, a switching of personalities and identities. It is at the moment when Michel feels most exasperation (and the need for gender security, in the male toilets) that Harry turns up, suggesting that he is Michel's double, an expression of his unconscious desires, somebody who will do what he wouldn't dare. This is the 'transference of guilt' narrative beloved of Hitchcock, one which found its purest expression in 'STrangers'.

There are some reasons why this contrivance does not carry the same weight here. Firstly, both characters are unpleasant and unlikely to win much audience support - 'STrangers' is so disturbing because the good guy is so cold, ruthless and unsympathetic, while the baddie seems vulnerable, and his motives are comprehensible. There are occasional attempts to suggest Harry's demons, as he screams in silence like a Francis Bacon painting. Michel, while never likable, is not calculating enough to provide an effective contrast. This blunts the transference of guilt - it is his wife, Claire, who resents his parents, who wishes for a bigger car etc. She also bears the film's misogyny, perhaps Hitchcockian, as she shows no sympathy towards her husband's creative endeavours (an attempt to regain childhood?), but as this only surfaces in the last ten minutes, it denies the plot frisson.

In the half-century since 'STrangers', Moll is still coy about homosexuality; although he never shows the much-alluded to heterosexual act, and engineers a number of encounters where a near-naked Harry and Michel discuss sexual prowess (to the point where Harry's eggs of virility become agent of Michel's creative fertility), there is no real sexual charge between them, making Harry look like a pervert trying to destroy the family, rather than showing a family stifling such urges in Michel. Hitchcock is more sympathetic to his lonely gays. He is also superior at creating narrative and suspense - Moll never makes his contrivances seem inevitable or plausible as his Master does, and after half an hour his film is slow-burning without becoming tense or exciting. The hallucinations and heavy ironies of the final quarter don't help.

I guess we've all once met someone who said that he knows you from I don't know where, while you absolutely can't remember the person's name or where you know him/her from. With "Harry, un ami qui vous veut du bien" or "Harry Is Here to Help" the makers have based their story on exact such a situation.

When on a hot summers day, Michel and his family go on a trip to visit his parents in the south of France, they stop at a gas station near the highway. In the restroom, a man asks Michel if he doesn't recognize him anymore. He says he's Harry and that he once went to the same school as Michel. He suggests they have a drink, so he and his girlfriend follow Michel and his family to their summer house. So far nothing special, but when Harry is able to quote from memory a poem Michel wrote in school, Michel is very surprised. Harry appears to think that Michel is one of the greatest writers ever and can't understand why Michel doesn't write anymore. Harry tells him that he should start again, but that he has to get rid of all the "nuissances" (his wife, his kids, his parents,...) that will prevent him from writing excellent stories. When Michel hesitates, it's Harry who'll "help" him...

What I really liked about this movie was the dark humor, although I'm convinced that many people will not. Laughing with for instance murder, isn't exactly to everybody's taste, but personally I really liked it. And yet the entire movie didn't always convince me. Especially in the beginning it was never able to fully grab me. Only when the killing started, it had me completely in its power. I would say that the quality is quite good, but not excellent. The acting is OK, without excelling, I liked the humor and the story is nice (but only at its best in the end). Overall I would reward this movie with a 6.5/10. If you want to see a great dark European comedy, than I suggest you watch the Danish movie "De Grønne slagtere" (aka "The Green Butchers"). It's a lot better, but also a lot darker than this one.

An engrossing French psychological thriller with jet black sense of humor, Director Dominik Moll has only made one other feature film, but looks very much like someone who has spent a lifetime fine tuning and constructing psychological thrillers. Moll's "With a Friend Like Harry" is a nervy, successful reworking of Hitchcockian themes and devices, with particular attention to the allure of the sociopath.

On a hot day in a highway gas station men's room, a man Michel (Laurent Lucas), doesn't recognize a stranger who says they went to school together. His name is Harry, played by Sergi López. He suggests they have a drink, so he and his girlfriend follow Michel and his family to their summer place. Michel is amazed when Harry quotes from memory a poem Michel wrote in school. Harry thinks Michel is a great writer, and he's distressed that Michel hasn't written in years. Harry stays awhile, and sets out to eliminate distractions that might keep Michel from writing. The first thing Harry does for Michel--he buys him a new car despite Michel demanding that he does not. What a guy! However, this extraordinary act of kindness sets off a chain of events, and suspicious things begin to happen. Michel picks up a pen and Harry is gratified, but he's not finished being Michel's self-appointed patron.

From the moment Harry is introduced to us, director Dominik Moll manages to saddle you up with an uncomfortable feeling. As the story slowly burns, it all becomes more and more unsettling. The devastating occurrences this family will endure will come from someone they've already invited into their comfort zone. And by the time they start realizing that, it's too late--and bad is already getting worse.

Moll flushes develops the characterizations of the family members and their daily interactions, and wisely keeping things simple. While you start to recognize these subtleties, it enhances the awareness that Harry's abnormal behavior is seeping into the lives of these very normal people. Even in scenes where Harry is not featured, you keep him in mind, as his presence permeates, and saturates the storyline.

Lòpez strikes the right note with his performance -- carefully balancing between overtly friendly to just plain crazy. At no point does he go shamelessly over the top, nor does the film really feature any excessive outbursts of violence. The mild brilliance of this film, lies with the question as to what Harry's motivation is, and what the outcome of it all will be. An intriguing, fully-engrossing psychological thriller that takes us deep into a world where answers aren't always provided. In fact, we are never sure where the plot is leading us. Mysterious, suspenseful, and a devilish sense of humor. With a friend like Harry, who needs family?

I enjoyed this film. Having read a couple of reviews before I went to see it, I'll have to agree with the critics who said Harry is dominated by a Hitchcock-like atmosphere. Like Hitchcock's films, there is comedy mingled with darkness. Also like Hitchcock's films, there is sort of melodramatic classical soundtrack. In addition, the mood throughout is suspenseful, as if something is always going to happen when Harry is around. The director maintained this suspese for the whole movie. I thought the dialgoue and acting were strong. All of the characters seemed very realistic and easy to empathize with. The only scene I found really implausible was the one with Plum and Michael in the bathroom near the end of the film. Michael's behavior in that scene just seemed inconsistent with everything else he had done so far. My favorite scenes in this film were the ones where Harry and various other characters are discussing Michael's old poems and short stories. I guess I can empathize since I was an English Literature major in college and dabbled a bit in writing. Long live The Flying Monkeys!

And I'm not only talking about the main character, but for the movie as a whole. It is a black comedy, but as others have stated, it is more psychological (or dare I say "psychotic"?), rather than laugh out funny (as in Serial Lover for example).

But if you are in the mood and have a liking for movies like this, Harry will indeed "help" you, enjoy this experience. And although I was expecting this to be remade in America, I'm also not surprised that no one has touched that subject yet. It's pretty dark, creepy and twisted. So the question you have to ask yourself is plain and simple: Are you up for it or do you rather watch something lighter (in mood and comedy)?

The premise of this film is benign enough. It's a hot day, Michel, Claire and their three girls are off to their holiday house for a break. The car is not airconditioned, the kids are getting ratty and Michel and Claire have had just about enough. They pull into a petrol station and Michel bumps into an old high school friend, Harry and his girlfriend, Plum. Harry sees how frustrated Michel and Claire are and offers to drive them to their holiday house. The offer is taken up and Harry enters their lives.

The film takes a little while to establish the backgrounds, but once that is achieved it rolls merrily along its dark path. Harry's motto "is help out where ever possible" and he does it all with a smile. It's a wonderfully executed film, once you get comfortable you're jolted out of the comfort zone. It's a spine chilling tale.

I think that if you view the film as Michel's becoming aware of his subconscious (as personified by Harry) and his subsequent efforts to deal with and resolves those issues that lay beneath his conscious you will find a truly enjoyable and creative film.

I went to see it base on a recommendation of a friend, who almost always gets it right for me. It is the kind of movie I like. It has all the right ingredients... And yet I left disappointed. Why? I have been trying to answer that question for the last couple of day. The answer (I think) is "for the same reason I did not like Eyes Wide Shut". I kept watching it and wondering "why did someone make this movie?". And it's not that every movie HAS to have a point - I have enjoyed many totally devoid of it, but it was missing so ... deliberately? And also it was FULL of symbols, most of which I either could not get, or they were plainly out of place and context. My recommendation - go and see it if anything to figure out what's wrong with it.

I am usually skeptical of big release films, and since this movie has been very heavily advertised in France, I was not so excited to go see it. But, it turned out to be a great film, high on suspense and very dark in its comedy. Sergio Lopez, who plays Harry is excellent, and the rest of the cast works really well playing off him (even if they do seem a bit naive). My only complaint is that the plot gets a bit unbelievable when bad things start to happen, yet nobody seems to suspect any foul play. But aside from that need to suspend disbelief, the film is suspenseful and exciting and hilarious and sad all at the same time. Once again non-Hollywood filmmakers show that suspense in a movie can be created by the acting and the story and not by cheaply overbearing soundtracks. If you like movies like "After hours", "Chuck & Buck", or "Eating Raoul", you will enjoy "Harry"

Director: Dominik Moll

Cast: Laurent Lucas, Sergi López, Mathilde Seigner

Hitchcock influenced tale that tells the story of Micheal(Laurent Lucas), a man who has a chance encounter with an old acquaintance named Harry from high school who insists that they catch up on old times. As it turns out Harry was a big fan of Micheal's writing in high school, but is dismayed to hear that he has since given up writing. Harry(Sergi López) then proceeds to "remove" everyone from Micheal's life that whom he deems a "distraction" so he can start writing again. This movie is good, but a little uneven because some scenes contain a good deal of suspense which in contrast makes others seem too boring and may make the viewer lose interest. Still a very interesting film that Hitchcock would probably enjoy. Recommended if you like Hitchcockesque suspense tales. 116 min.

Rated R for language, some violence, and brief nudity