Metacritic reviews

Open Windows has plenty to say about both the death of privacy and the dominion of the always-connected digiverse we now inhabit, and editor Bernat Vilaplana does a remarkable job of keeping the film’s frenetic pace rushing headlong toward an ending that you’ll never see coming.

Open Windows goes from crazy to Crazy to CRAZY, but maintains enough energy and cultural currency to keep the entertainment value high.

A fiendishly inventive thriller built around an audacious if unsustainable gimmick, Open Windows elevates Hitchcockian suspense to jittery new levels of mayhem and paranoia.

While the execution may be somewhat of a misfire, the obvious effort and thought put into making the concept work is worthy.

Timidity and perhaps fear, of visual confinement, of lingering emotional engagement, closes Nacho Vigalondo's most promising windows.

Open Windows attempts to disguise a revenge movie by cloaking it in the flash of a voyeuristic techno-thriller, but the combined concepts are so high that the film resolves as Vigalondo reaches his Icarus moment, the corpse so mangled and unpleasant the project’s ambition can only be identified via dental records.

Vigalondo is shooting for something densely layered, an expression of the complexity and moral murkiness of the hacker sphere, but he doesn’t have the plot sorted out.

It's pretty silly stuff, leaving the film to rely on more conventional car chases, woman-in-peril scenarios and mistaken identity to keep things interesting -- all seen on that laptop via security cameras and the like.

Smothered by a storm of visual tics — and the tiniest of nods to “Rear Window” (1954) — any social commentary takes second place to multitasking gimmickry.

The new thriller from Spanish writer-director Nacho Vigalondo (Timecrimes) is visually dazzling, but the story starts off silly and ends up a confusing, maddening mess.