Dotsthavesp I wanted to but couldn't!

RipDelight This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

yeodawg Its not for the pomp and circumstance and hither thee will and stuff. It's because the dialog and characters are as rich as a velvet cake. From the opening scene I was engaged and entertained, the girls sparring with the priest was as exciting as any Bruce Willis Die-hard shoot-out, rappel off the top roof scene. Young blonde beautiful girls are turning up dead and everyone's a suspect. Not because they said something or did something suspicious. They're British men, effete, fops and dandy's they all look suspicious. They all have that longing for something more look on their face, even when they're rogering some tight bird. They still look like they want to be strangling her instead of having sex with her. Soanyhoo in between the knee-high cotton white socks, the mid-thigh schoolgirl outfits, the repressed guys in the woolly-pulleys, dealing with drug addiction, we sort out who's been killing the girls. At one point a hippie with a see through linen shirt and sunglasses to die-for, shows up at the house and peddles drugs to the son. The family is about to throw him out before he tells them the police interrogate end him about the dead girls. They become very curious, and putty in their hands.

moonspinner55 Interesting and attractive ambiance in place of a plot. Adaptation of Audrey Erskine-Lindop's novel concerning a Catholic schoolgirl in working-class Berskhire who is drawn to the now-abandoned first house she lived in with her adoptive family; she also harbors a secret crush on her foster-brother, whom she believes may be a sex-slayer wanted by police, and proceeds to cover up his suspicious tracks while dreaming of a more intimate relationship. In the lead, open-faced, yearning Jenny Agutter has wonderfully wide, girlish eyes and shy smiles; from the opening montage of her daily early-morning routine, Agutter connects with the audience immediately, and she's a joy to follow throughout this character study-cum-psychological drama. Producer-director David Greene is alternately subtle and heavy-handed, telegraphing a few story-points well ahead of schedule, but his lazily-flowing narrative is enticing in an ethereal way. The film has nimble editing and a sing-song theme, yet the screenplay is a real obstacle. While packing so much text and subtext into the first hour, the second-half of the picture comes up short on steam. Nevertheless, quite unusual, with haunting, lovely moments and a solid cast. ** from ****

lazarillo For me this movie was quite a find. It appeared late at night on what was normally waste-of-time English-language cable station in Turkey. The syrupy opening theme song nearly made me turn it off, but it caught my attention because it featured underrated British actress Jenny Agutter, most famous for appearing in the superb Australian art-house film "Walkabout" and playing the female love interest in a smattering of more mainstream fare like "Logan's Run" and "American Werewolf in London". Because her international debut "Walkabout" was much more famous for it's incredible cinematography of the Australian outback than it's very understated acting and almost non-existent dialogue, Agutter would become much more renown for her incredible five-minute nude swimming scene than any thespian talent she might have displayed. Her subsequent international roles were thus somewhat limited (for example, even in the PG-rated "Logan's Run" she somehow managed to have a completely gratuitous full-frontal nude scene). Only older British viewers who remember her work as a child actress on obscure BBC television programs would have too much idea of her acting talent.This movie would rectify that immensely if it ever finds a larger audience. Agutter (a couple years younger than she was in "Walkabout")plays a troubled pubescent girl in love with her older foster brother. When she begins to suspect that he is a serial killer terrorizing the local neighborhood she chillingly begins to cover up for him, but the truth turns out to be something quite different.The movie manages to be both a tense thriller and a sensitive coming-of-age flick while deftly avoiding the excesses of either genre. It obviously takes place at a time when London was in full swing (which can be seen in the panty-flashing mini-skirts worn by the characters' slightly more experienced best friend), but the movie also remains somewhat provincial and very British, kind of an early version of a Mike Leigh film. This would make a good double-bill with "Deep End", another superb but sadly forgotten film of 60's era British youth. My only complaint is the music, which aside from a smattering of Jimi Hendrix, is absolutely wretched, especially compare to the music that was coming out of Britain at that time. Nevertheless, I would definitely recommend this one.

kevin-caprani focuses on the disturbing fear that an attacker can arouse in any decade you care to think of,the fear is heightened by the central child character {played by jenny agutter} troubled by the thought her own father may be the culprit, nasty creepy atmospheric scenes in the woods will have you squirming in anticipation of what might happen,sadly underrated and overlooked.