The most annoying thing about THE WOMAN IN THE WINDOW is that Amy Adams gives a good performance. The next is that the film, about an agoraphobic child psychologist who is convinced she witnesses a murder in the house across her street, not only lifts heavily from Hitchcock thrillers (a lot of films do, so what?), but shows REAR WINDOW and SPELLBOUND on screen, directly inviting those comparisons. There’s very little to recommend in the film aside from a committed Adams; the rest of the cast are wasted and it’s stylistically overblown and clumsily written throughout. Even if you’re thinking things are just inoffensively watchable, dully derivative at the halfway point, the hectic final act and its multiple stupid twists will ensure you’re begging for the end. SSP