Evan Eaton’s review published on Letterboxd:
Plays a lot like Rear Window, if Cronenberg and Argento had held knives to Hitchcock’s throat and told him how to direct it. De Palma’s playful fusion of noir, giallo and body-horror is bursting from the seams with affection for genre, the few jarring beats and glaring goofs doing little to knock its momentum. For all its misfires in continuity, the use of split-screen is just mind-blowing, one half of the screen always perfectly corresponding with the other. Herrmann’s music makes sure to top it off, Vertigo vibes mashed with stings and motifs which sound an awful lot like Taxi Driver tryouts. Don’t miss this one, it’s a freak-show to die for.