It’s been a minute since Joe Wright’s adaptation of the A.J. Finn novel hit our screens, but people are still hitting search to see if they should watch The Woman in the Window. Honestly? It’s a weird one. You’ve got Amy Adams—arguably one of the best actors of her generation—trapped in a brownstone, battling agoraphobia and a pill-popping habit that makes her a classic "unreliable narrator." It’s basically Rear Window for the TikTok era, but with a lot more yelling and a very messy production history.
If you’re looking for a tight, logical thriller, this might frustrate you. But if you want a high-camp, visually arresting fever dream that feels like it’s constantly on the verge of a nervous breakdown, you’re in the right place.
The Messy Reality of This Movie’s Journey
Let’s get real for a second. Before you sit down to watch The Woman in the Window, you have to understand why it feels so disjointed. This wasn't a smooth ride. It was originally a Fox 2000 project, then Disney bought Fox, then the test screenings went poorly because audiences were reportedly "confused." Then came the reshoots. Then Tony Gilroy—the guy who saved Rogue One—was brought in to rewrite sections.
By the time it landed on Netflix in 2021, it had been poked and prodded more than a science project. That’s why some scenes feel like a prestige drama while others feel like a slasher flick from the 90s.
Why Amy Adams is Doing the Heavy Lifting
Amy Adams plays Anna Fox. Anna is an atmospheric wreck. She drinks too much Merlot, mixes it with heavy medication, and watches her neighbors through a zoom lens. Adams is doing a lot here. She’s sweaty, she’s shaky, and she’s genuinely believable as a woman who hasn't felt sunlight on her skin in months.
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Gary Oldman shows up too. He’s the neighbor, Alistair Russell. Oldman does his "shouting Gary Oldman" thing, which is always fun to see, even if it feels like he’s in a different movie than Julianne Moore. Oh, wait—Julianne Moore is there too. For about ten minutes. She’s great, obviously. She plays a woman who may or may not exist, and her chemistry with Adams is the highlight of the first act.
Is it Actually Scary?
It’s more stressful than scary. The tension comes from the walls closing in. If you decide to watch The Woman in the Window, notice the cinematography. Bruno Delbonnel, who did Amélie and Inside Llewyn Davis, uses these deep greens and reds that make the house feel like a living organism. It’s claustrophobic.
The "scares" are mostly jump cuts and loud noises. It doesn't have the psychological depth of Gone Girl, but it has the style of a Hitchcock tribute act.
The Controversy Behind the Book
You can't talk about the movie without mentioning the author of the book, A.J. Finn (real name Dan Mallory). A few years ago, a massive New Yorker exposé revealed that Mallory had allegedly lied about having brain cancer and various other personal tragedies to climb the publishing ladder.
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Does that affect the movie? Not really. But it adds a layer of irony to a story about a woman who can’t tell what’s real and what’s a lie. When you watch The Woman in the Window, it’s hard not to think about the "unreliable narrator" behind the scenes as well as the one on the screen.
The Twist You'll See Coming (Or Maybe Not)
Without spoiling too much—because that’s the whole point of a thriller—the ending is polarizing. Some people love the sudden shift into a "final girl" horror trope. Others think it betrays the grounded, psychological setup of the first hour.
It gets violent. Fast.
There’s a scene involving a basement and a skylight that is so over-the-top you’ll either laugh or hide under your blanket. It’s a total departure from the quiet, moody build-up. But hey, that’s what happens when you have three different writers and a handful of producers trying to "fix" a movie.
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A Quick Breakdown of the Characters
- Anna Fox (Amy Adams): The agoraphobic child psychologist. She’s the heart of the film.
- Alistair Russell (Gary Oldman): The grumpy neighbor who might be a murderer.
- Jane Russell (Julianne Moore/Jennifer Jason Leigh): It’s complicated. Don’t ask.
- David (Wyatt Russell): The tenant living in the basement. He’s sketchy in that classic Wyatt Russell way.
Why You Might Actually Enjoy It
If you love 1940s film noir, you’ll dig the references. Joe Wright clearly loves the classics. He literally projects scenes from Laura and Dark Passage onto the walls of Anna’s house. It’s a movie for movie nerds.
It’s also short. Under two hours. In an era where every blockbuster is three hours long, a 100-minute thriller is a blessing.
What to Keep in Mind Before You Press Play
Check your expectations. This is not the next Silence of the Lambs. It’s a "popcorn" thriller with "Oscar" acting. If you go in expecting a masterpiece, you’ll be disappointed. If you go in expecting a wild, slightly messy, beautifully shot melodrama, you’ll have a great time.
The sound design is also worth mentioning. The way the floorboards creak and the rain hits the glass—it's designed to be watched with headphones or a decent soundbar. It makes the agoraphobia feel visceral.
How to Get the Most Out of the Movie
- Turn off the lights. It’s a dark movie, literally. You won’t see half the details if there’s a glare on your TV.
- Don’t check your phone. The plot moves fast once the "incident" happens. If you blink, you’ll miss a key piece of evidence (or a hallucination).
- Watch the background. Joe Wright hides things in the shadows.
Actionable Next Steps
If you’re ready to dive into this domestic noir, here’s how to make the most of it:
- Platform: As of now, the primary place to watch The Woman in the Window is Netflix. It's a "Netflix Original," so it likely won't leave the service anytime soon.
- Double Feature: Pair it with Rear Window (1954) or Copycat (1995). It’s fascinating to see where Joe Wright "borrowed" his ideas and how modern technology changes the "neighbor-watching" trope.
- Read the Article: Search for the 2019 New Yorker piece on Dan Mallory after you finish the film. It’s just as gripping as the movie itself and provides a ton of context for why the project felt "cursed" to some critics.
- Check the Rating: It’s rated R for violence and language. Not one for the kids, even if they like Amy Adams from Enchanted.
Ultimately, it’s a polarizing piece of cinema. It’s beautiful, it’s messy, and it’s a testament to how reshoots can change the DNA of a story. Go in with an open mind, a bowl of popcorn, and maybe a glass of Merlot—just don't mix it with your meds like Anna does.