SoftInloveRox Horrible, fascist and poorly acted

Fairaher The film makes a home in your brain and the only cure is to see it again.

Tayloriona Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

MartinHafer It begins with a well to do couple (Robertson and Simmons) at their home in Britain. Through the first portion of the film, you see that the wife seems to be having some memory lapses and might be headed for a nervous breakdown. However, you are unsure if what is really happening or if, perhaps, the husband is orchestrating it—like in the movie "Gaslight". In fact, for quite a while, I thought the film was a remake of this story. However, unlike "Gaslight", the wife kills herself and you realize this cannot be that classic film's plot. From here on, the husband suddenly begins experiencing many of the same manifestations that the wife experienced—and he, too, might slowly be going mad. What's next? This film is a great example of a movie that is simply over-written. In other words, there are too many plot elements and twists. Because of this, the plot to drive the couple mad is overly complicated and presents MANY opportunities to establish that an outside person or persons are manipulating them. The plot depended too many times on the people reacting one way and if they'd reacted another (which was very plausible) the plan would have quickly come unraveled. As a result, there were several obvious plot holes that kept me second-guessing the writer. Additionally, at the end, there is a murder that simply made little sense. Add to that the amazingly over-restrained performances by everyone (especially Robertson) and you get a movie that should have been excellent but in actuality was only a time-passer. Not terrible but simplicity would have made this one so much better.

classicsoncall One of my favorite movie themes here, the evil husband attempting to drive his wife insane to the point of suicide. The classics in that regard are the original 1940 "Gaslight" and it's remake in 1944 with a better known cast. The twist here is that the evil husband (Cliff Robertson) gets the same treatment in return by characters revealed at the end of the story. Generally I like Robertson's portrayals but he was pretty stoic in this one, to the point of lifelessness. He spent a lot of time brooding and walking around after his wife's suicide, intent on finding out if her spirit really came back from the dead to serve him justice from the beyond. Some of the ruses here worked pretty well on the surface, like the hangman's noose that appears in the Ballard home, and the prediction of David Ballard's (Robertson) death eerily carved into a gravestone placed next to his wife's. Personally, I was pretty sure chauffeur Tony (Simon ward) would figure in the resolution of the story, but having Jenny Agutter's character involved so prominently in the payoff should have had her set up more realistically before the denouement. Which didn't really click for me considering she inherited the entire estate and Tony only got some cash from the title character. Sure she got jilted, but why throw it all away over one of the help? Yeah, love is blind, but gee, if she was so smart, she could have driven Tony crazy too.

Chase_Witherspoon Creepy thriller concerning a selfish American businessman (Robertson) supporting his interests through a marriage of convenience to his wealthy English wife (Simmons), until she commits suicide as a result of his emotional bullying. Her instructions are for her will to be read on their wedding anniversary in a few weeks' time, and as that day draws nearer, visions, apparent apparitions and strange goings-on haunt Robertson to the point of virtual insanity. Convinced that his wife has returned from the dead, he enlists his new chauffeur (Ward) to exhume her body, not once, but twice, where he makes a shocking discovery.Atmospheric, tense and suspenseful throughout, I found Simmons' portrayal of the emotionally crippled wife compelling and her 'resurrection' even more stirring. Gaping plot holes, contrivances and other poetic conveniences while no means forgiven, are somewhat disguised by director Anderson's flair for creating tension out of the limited material. The cast however has considerable depth, with veterans David Tomlinson, Jack Warner, Dame Flora Robson, and Ron Moody in a pivotal supporting role. Jenny Agutter, Judy Geeson and Michael Jayston are also prominent.There's Hitchockian moments and more than just a little reminiscence of the similarly titled French classic "Les diaboliques" (1955), and yet despite the somewhat borrowed theme, I still found myself in the grip of "Dominique" and was rewarded with some heart-pounding moments. Not perfect, but entertaining nonetheless.

dbborroughs Back in the early days of home video the trailer for this film seemed to appear on the front of every video tape my family watched, so much so that if anyone says the name Dominque, everyone automatically says "Dominique? Dominique is Dead". the film itself is an okay thriller which concerns a man out for money and the wife who dies and then comes back to haunt him. The film is well made by Michael Andersen who had a long career and turned out films like Orca, Shake Hands with the Devil, The Quiller Memorandum and Logan's Run. The cast which is headed by Cliff Robertson is first rate and it helps to sell the script which is more than just a little clichéd (Frankly if you can't guess where this is going you haven't seen many movies). Its an unremarkable but enjoyable distraction, worth picking up if you should see it in the 99 cent rack.