Reviews provided by RottenTomatoes
New York Times:
Not only do you probably have better things to do, but so, I'm sure, do most of the people connected with the film.
[Don't Look Now] takes the viewer on a winding, unpredictable trip that starts as a meditation on grief and ends as a supernatural thriller.
Nicolas Roeg's 1973 film remains one of the great horror masterpieces, working not with fright, which is easy, but with dread, grief and apprehension.
Don't Look Now uses the occult and the inexplicable as Henry James did: to penetrate the subconscious, to materialize phantoms from the psyche.
This British-Italian suspenser, in which the horror gets to one almost subliminally, as in Rosemary's Baby, is superior stuff.
Roeg maps Sutherland's disintegrating psyche onto the city of Venice, with its labyrinthian alleys, murky canals, and crumbling facades.