A mantra that I hold very dear is that if a film can’t be good, the next best thing is for it to be camp. This certainly is a good starting point for The Woman in the Window, which is the kind of pulpy, trashy thriller that peaked in the early 1990s, and rarely managed to make any significant comeback, but not for a lack of trying, with many filmmakers attempting to capture the magic of films such as Single White Female and Pacific Heights over the years. The adaptation of the novel by the author writing under the name of A.J. Finn (whose own personal life is just as tumultuous as the story he wrote) is brimming with talent, and seems intent on wasting all of it, which somehow only makes it more endearing, since if something is going to be a complete disaster, at least make sure that everyone involved is on the same page. The sheer pedigree of people involved in the making of this film is staggering – it is helmed by Joe Wright, one of the most interesting directors working today, who is in turn working from a screenplay by acclaimed playwright Tracy Letts, who is part of a large ensemble that includes stars like Amy Adams, Gary Oldman, Jennifer Jason Leigh, Brian Tyree Henry and Julianne Moore, all of which are doing very interesting work. Yet, despite the wattage of talent associated with the film, The Woman in the Window still manages to be something of a trainwreck. However, what is important to note is that, as a psychological thriller, the film is pretty dismal. As a future camp classic, it is absolutely unforgettable, and while it may lack any real merit, the film is, at the very least, entertaining enough to justify sitting through it, even if only for the sake of seeing how even the most acclaimed artists aren’t immune from failure every now and then.

We’ve seen several films like The Woman in the Window (in terms of this specific kind of mediocre adaptation of the kind of poorly-written novel that caused some sensation at the time of its release – this isn’t even starting on how there are innumerable references to classic films that are blatantly stolen and woven into the fabric of this one), and they all share one common quality – a complete lack of self-awareness. No one sets out to make as derivative and contrived a thriller intentionally – they all go about thinking that what they’re doing is interesting and audiences will flock towards it, mostly due to the star power attached to the production. This film exists on the same plane of existence as The Girl on the Train, one of the most gloriously deranged psychological thrillers of the past few years, a truly dismal attempt at rivetting fiction that is essentially one giant plot twist with a few expositional scenes peppered throughout it. The same can be said for The Woman in the Window, a film so poorly conceived, it is honestly remarkable that the source material actually managed to acquire as much of an audience as it did. In this regard, we can’t really blame the film for being as contrived as it was – the problems aren’t in the execution (for all intents and purposes, Wright actually did his best with the material), but on the purely fundamental level that this is already the most thinly-written thrillers, a blatant swindling of the plot of the Alfred Hitchcock classic Rear Window (and honestly, using a frame from this film in the opening scene does not excuse lifting essentially the entire premise of that film), manipulated into a dense and confusing contemporary thriller that never makes much sense, even in the scenes that are intentionally designed to help clarify some of the plot.

It takes a special kind of film to be both filled to the brim with twists and turns, but yet be so deeply predictable, to the point where it becomes almost embarrassing, since the viewer already figures out the major twists at least an hour before they happen – so we sit, awkwardly waiting for our suspicions to be proven true. Then the film ends, and we’re left with nothing other than a bundle of beautifully shot scenes that don’t add up to much. However, while this does seem like it would be a big problem, if we take The Woman in the Window for what it is (rather than what it is trying to be, since there is an enormous difference), we can start to see how effective it actually is in terms of being a film that will grow into a camp classic, in the same way as the equally ridiculous psychological thrillers of past decades have been repurposed as cult films in later years. It will take time, and it won’t be an easy process, since there isn’t much to hold onto in regards to camp value (not in the way as the one-two punch of Ma and Greta a few years ago, which were clearly aiming to meet the criteria to enter into this prestigious company, and ended up overcompensating with too much excess), but once audiences start to view The Woman in the Window as less of an artistically-profound work – of which there is very little outside of some genuinely well-composed shots and a few decent performances – and more as a return to the deranged psychological thrillers that terrified and amused in equal measure, normally in late-night screenings, the sooner we’ll realize how brilliantly unhinged a film like this can be. Once again, it is a difficult position to be in, since the logical argument is that The Woman in the Window is a legitimately bad film, while the more forward-thinking perspective is that this is one that will persist, perhaps not in as positive a light as it may have intended, but will have a longer shelf-life than more traditionally acclaimed films – yet for something as convoluted as this, such a quandary seems oddly appropriate.

Honestly, we can’t even look to the actors for some guidance as to how to approach The Woman in the Window, since they’re more or less on the same page as the film itself, none of them being able to rise above the peculiar narrative quirks. Amy Adams is decent in the leading role, and manages to show that she is a very gifted movie star, insofar as she can convincingly be at the centre of a film like this without getting lost in its labyrinth of poorly conceived absurdities. However, she is also the victim of the film’s flaws, since she is the central figure, and the person we are going to assert most of our judgment on, even if she’s giving a good performance. Perhaps a film like The Woman in the Window is not worthy of someone like Adams’ talents, but the converse argument is that this is the precise kind of film she should be doing in between her more artistically-resonant projects, since it shows her range and allows her to prove that she can work in any kind of film. Regardless, she is the face of the film, so it’s not likely that we’re going to be able to separate her from the rest of the story, so she mercifully manages to stay on the same level, rather than drowning in the strange decisions that abound. The same can’t be said for Gary Oldman, who is at his most unrestrained (which has become a recurring problem for the actor, since he tends to descend into excess when under the direction of someone who can’t quite harness his unique energy into something productive), or Julianne Moore, who is making a return to the kind of eccentric, unhinged characters she has played throughout her career, which may delight some and repel others. It’s all a matter of preference, and for a film as star-studded as this, The Woman in the Window may be worth seeking out only to see some prominent actors taking roles that are certainly below their standard, and trying their best to elevate it, while simultaneously being crushed by the inescapable stupidity of this poorly-conceived attempt at a thriller.

As harsh as this criticism may be, The Woman in the Window isn’t a complete disaster – rather, it’s a failed, studio-supported attempt at capitalizing on a wildly popular book by bringing it to a wider audience, casting a sprawling ensemble of recognizable actors and having them play roles that might not meet their standards, but at least gives them something to do. No one’s career is necessarily going to be harmed by the failure of this film, and it received the best possible release, since this isn’t something that audiences would necessarily flock to see, but rather come to enjoy in a casual setting, which is the perfect platform for something like The Woman in the Window. It is a run-of-the-mill psychological thriller, filled with the predictable twists and turns that any logical viewer can see coming from miles away – but with the right perspective, and perhaps even an appreciation for this kind of pulpy, low-concept premise, you might even find yourself momentarily enthralled by it. This isn’t a good film, but it’s not one that lacks merits as a future cult classic – it has all the trimmings, including gloriously excessive performances by prominent actors, a plot that is rife with inconsistencies that are so unforgivable, they’re almost endearing, and a twist that is the definition of nonsensical. Unfortunately, the film is never in on the joke itself – but this is one of the rare cases where it seems like laughing at the film, rather than with it, may not be the worst idea, since it’s likely going to give The Woman in the Window more momentum. As a psychological thriller, it is derivative, poorly written and barely acted. As a piece of escapism that distracts from the real world for a couple of hours and gives us a well-needed dosage of entertainment (as unintentional as it may be), it is worth the time, granted someone knows what to expect when entering into the film – you wouldn’t want to be fooled into thinking this is a good film after all.