If this movie isn’t an homage to Hitchcock then I don’t know what is. It’s all here: the motif of the doppleganger; the practice of voyeurism; disturbed femmes, and the manic aural cues of Bernard Herrmann in one of his last contributions. Fortunately, it is also a decent thriller on its own terms. Contemporary audiences will, however, instantly have the “twist” figured out, and from there the film ceases to surprise, devolving into a whodunit thats long been figured out. I’d opine that Herrmann’s score saves this movie and lends it more energy than the narrative itself, giving it the freakshow vibe which prepares and justifies the surprisingly disturbing penultimate scene. Fans of De Palma should pick this one up, while fans of Hitchcock too, can appreciate it for what it aspires to be.