Non bisogna lamentarsi del finale che molti hanno trovato scontato. Bisognerebbe concentrarsi molto più sulla narrazione, che è a dir poco stupenda. Un film che parla della follia in alcuni tratti in maniera dolce e in altri in maniera molto crudele. Carpenter ci chiude in una stanza e ci sottopone ogni secondo a delle scosse elettriche provenienti dal lettino dell'elettroshock.
[Spoilers] The music is reminiscent of early Argento, but unfortunately the rest of the film reminds me of the Italian's more recent efforts. Clunky, poorly characterised and with a "twist" written five miles ahead in flashing neon for anyone who has watched "Shutter Island".
A masterclass in B-picture filmmaking. Carpenter takes on as pulpy and ridiculous a script as he has ever worked, and enlivens it with a ferocious sense of purpose. As with the best of Carpenter's work, even if this may not necessarily match up with it, every shot frames its subjects and moves with supreme confidence and disarming ease.
Not awful, but the constant sub-Grudge-remake jump scares really get in the way of solid, understated filmmaking and surprisingly good acting. The lobotomy murder is a brutal bit of work in an otherwise tame thriller. Lifts from giallo (with an upscale Goblin score), as noted below, which is interesting. But seriously, get a handle on those cheap jolts. And we end on a mirror scare! Really? I can't respect that.
Un buon thriller psicologico girato con la consueta eleganza stilistica.La sceneggiatura non è molto originale e ad un certo punto del film la trama diventa prevedibile,ma Carpenter ha una maestria tale che l'osservazione dei suoi movimenti fà passare in secondo piano la storia raccontata.Non è certo tra le sue opere migliori,ma è stato ingiustamente massacrato.Bellissima la protagonista.3*
The setup and the central mystery of the film are cliches, and the turns that they take are eyerollingly obvious to anybody who's seen, say, more than a dozen thrillers, but one gets the sense that Carpenter and co. aren't interested in the mystery so much as they are the significance of the mystery. In that sense, it's a love letter to the genre: The stories that scare us are how we heal.
No less in all regards than, say, Wes Craven's first effort on the Nightmare on Elm Street series, or even the second-best works of the Carpenter oeuvre itself-- to the extent that one can't help but wonder at the (modern?) arrogance with which it has been received.
If you were surprised by the twist in Identity, this might work on you, except I just ruined it for you. Carpenter ruined it for us all first though, so I don't feel bad. If you are going to have such an obvious and boring twist telegraphed from the start of the film, at least use the dull hour or so that follows to work some interesting metaphors. That is the whole point of the characters in this type of framework.