A.J. Finn’s The Woman in the Window was a literary hit in 2018, one of those page-turners in the mold of the Girl on the Train and Gone Girl with unreliable narration and suspenseful twists. I never read it, but got the sense that a decent share of its sales were hate-readers who threw their copies of the book at the wall in frustration when certain plot points were revealed. After a long time in pandemic release purgatory, Joe Wright’s film adaptation finally drops this weekend. The main selling point is that you can find out what the love/hate for the novel was all about in the span of less than two hours instead of 448 pages.

Over the course of the last several weeks, I’ve been going back through all the previous Saw stories. Across eight films, the series told of everyday people who found themselves caught in tortuous games of life and death that were all orchestrated by the infamous Jigsaw killer. Only a few are worth watching as the series steadily declined into being more and more unnecessarily convoluted to keep the story running past where it should have ended. It is a shame as the first, even with its flaws, remains a standout that left a mark on the horror genre as a well-constructed and inventive film.

The best local Seattle film production of 2021 has arrived.

Ben Sharrock’s delicate and sensitive sophomore effort looks for beauty under tough circumstances.