The Voyeurs Movie Review: Amazon’s Shy Erotic Thriller Wastes Sensual Sydney Sweeney | Hollywood

The voyeurs
director – Michael Mohan
To emit – Sydney Sweeney, Justice Smith, Ben Hardy, Natasha Liu Bordizzo

Amazon’s The Voyeurs is a Gen Z-centric update to Alfred Hitchcock’s Rear Window, a movie that millennials already had a chance to reinvent with 2007’s Disturbia. While that movie did an admirable job of capturing the heartbreak that defined An entire generation, The Voyeurs’ erotic styles and vaguely garbage European vibe keep it from becoming something more than it is: a sub-standard moral tale of mass reliance on technology. .

After watching the opening moments of the film, in which the credits play over shots of iris (get it?) And a sultry Sydney Sweeney walking down the street with synth music blasting in the background, you might wonder if you’ve changed by mistake. in an episode of Euphoria. The film certainly exploits his new status as the sex symbol for kids who spend hours after school twerking on reels. But with no idea what to make of Sweeney’s magnificently mysterious aura, The Voyeurs reaches a final stretch where he basically corners her into taking her clothes off.

Two twentysomethings named Pippa and Thomas, played by Sweeney and Justice Smith, move into a spectacular studio in an undefined European city, and almost immediately are drawn to the stylish couple who live across the street. Neither Pippa and Thomas nor their next door neighbors, who are given made-up names, seem old enough to vote. So I don’t understand how they can afford such classy accommodation at their age. Perhaps they are destined to be older than they appear? Who knows, but I couldn’t shake the feeling of watching one of those Flipkart commercials where kids play uncles and aunts.

Even before they have eaten for the first time in the new house, Pippa and Thomas find themselves spying on the couple next door. Things only get weirder when Pippa notices she’s getting turned on, and Thomas conveniently recalls that she has the technical skills to eavesdrop on neighbors’ conversations by creating a contraption that shoots invisible lightning bolts across the street or whatever is.

As Pippa and Thomas’ dubious hobby intensifies nightly, screenwriter / director Michael Mohan directly refuses to dig beneath the surface of the moral implications of their actions. Of course, we are also curious about the lives of the neighbors; the guy seems to be cheating on his wife, and she seems to have no idea. But after a moment, any onlooker in their right mind would raise their hands and declare that Pippa and Thomas are crossing the line. And sure enough, it begins to affect your relationship.

Sydney Sweeney in a still from The Voyeurs.
Sydney Sweeney in a still from The Voyeurs.

There are many ways that rational human beings in Pippa and Thomas’s situation could behave, but even with a pair of binoculars in your hands, you won’t find any signs of good sense in The Voyeurs. The problems with the film are easy to identify: the protagonists are horrible, the people they are spying on are not interested; so there is no way you can worry about any of them. But despite its rather childish handling of big ideas, the movie is quite daring in its final moments. However, everything is superficial.

As strange as Pippa’s motivations are, at least they are established. However, it is not immediately clear why Thomas continues to please her. He begins to have doubts about his late night spy sessions, and eventually has such a sudden overreaction to an activity he was happily participating in just moments ago, one wonders if he is secretly a psychopath.

Also Read: Losing Alice Review: Apple’s Erotic Thriller Too Shy To Strip It All

It turns out that there are several psychopaths in The Voyeurs, but Thomas is not one of them. On the other hand, this completely depends on your definition of what a psychopath is, because when it comes to such distinctions, the movie is clearly on another planet. In fact, it unfolds so impressively in its final moments, both by moral and narrative standards, that one desperately wonders what someone with the satirical eye of Paul Verhoeven might have found in this story.

Voyeurs want nothing more than to be compared to the erotic thrillers of the 90s, but they rarely match their quality.


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