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Reviews provided by RottenTomatoes
Jeff Millar, Houston Chronicle: The deliciousness of watching the film as it's intended to be seen is that the big screen gives Rear Window back its claustrophobia. Read more
Lisa Schwarzbaum, Entertainment Weekly: Masterpiece of voyeurism. Read more
Jonathan Rosenbaum, Chicago Reader: In an impressive oeuvre, Rear Window is arguably the most exquisitely handcrafted feature, because Hitchcock mastered the spatial as well as behavioral coordinates of his chosen universe inch by inch. Read more
Michael Sragow, New Yorker: It's one of Alfred Hitchcock's inspired audience-participation films: watching it, you feel titillated, horrified, and, ultimately, purged. Read more
Peter Rainer, New York Magazine/Vulture: The clearest example of a Hitchcock movie that functions on dual levels: It's both mousetrap and abyss. Read more
Vincent Canby, New York Times: Its appeal, which goes beyond that of other, equally masterly Hitchcock works, remains undiminished. Read more
Roger Ebert, Chicago Sun-Times: Rear Window lovingly invests in suspense all through the film, banking it in our memory, so that when the final payoff arrives, the whole film has been the thriller equivalent of foreplay. Read more
Peter Stack, San Francisco Chronicle: Since the 1954 Alfred Hitchcock classic is all about the voyeuristic instinct, the better the view, the more sensational the experience. Read more
TIME Magazine: Just possibly the second most entertaining picture (after The 39 Steps) ever made by Alfred Hitchcock. Read more
Geoff Andrew, Time Out: Of all Hitchcock's films, this is the one which most reveals the man. Read more
William Brogdon, Variety: Hitchcock combines technical and artistic skills in a manner that makes this an unusually good piece of murder mystery entertainment. Read more
J. Hoberman, Village Voice: Restored to its original Technicolor grandeur! Read more