'One Hour Photo (2002)' is a genuinely disturbing, but non-grotesque, film that stays with you long after its successfully subversive and ambiguous end. It further serves (along with 'Insomnia (2002' and 'Good Will Hunting (1998)') to prove that Robin Williams was a phenomenal dramatic actor capable of incredible diversity along with an understated charm that actually adds to the sort of suburban creepiness of the couple of frightening characters he took on. What he does here is bring a true, tangible humanity to a terribly disturbed, deeply damaged individual and the slow-burn of the piece expertly winds up the suspense for an unsuspected finale that is as shocking as it is successful, unrelentingly uncomfortable and incredibly engaging (in a 'watch through your fingers' kind of way). Even at its darkest, it never to loses sight of its character-based, not mean-spirited, focus. 7/10

A perfect example of an obsession gone awry. The technology may be dated but it's still a twisted little movie. The late great Robin William's best dramatic role. Most of the film is bright and beautiful to watch but the underlying tone is dark and disturbing. One of the all time best psychological thrillers.

A character study of obsession and growing madness, this is a film which makes up for a dearth of action by incorporating lots of suspense and subtle increases in tension into the running time. It's an exercise in psychological creepiness, boasting a near-flawless performance from Robin Williams, whose acting is introverted and subdued this time, instead of the awful loud comic character we have grown accustomed to from his earlier career. In fact, this might well be the best film of his long career. Without Williams, I'm not sure the film would be so successful in what it sets out to do; indeed, I can't imagine anyone else essaying the part as well as he does here: lonely, balding, blond-haired and totally alienated from the rest of society, he's a man without a life, whose obsession with a 'normal' family leads to tragedy.The surprising thing is that many scenes are riveting, despite not a lot happening. Moments when Williams faces the disapproval of his boss (Gary Cole, in another wonderfully nasty and impassioned turn) are engrossing, whilst the hotel set-piece at the finale keeps you guessing for as long as possible. Not sure I'm totally in favour of the (anti) climax, but at least it does away with cliché and presents things in a far more realistic light than we often see in the movies. Sober, surprisingly intelligent and insightful: worth watching for Williams alone.

One Hour Photo (2002): Dir: Mark Romanef / Cast: Robin Williams, Connie Nielsen, Michael Vartan. Gary Cole, Eriq La Salle: Photographs capture time and memories but it only takes a short time for those moments to be invaded. Robin Williams plays photo clerk Sy Parrish who narrates the film giving viewers a bit of history on the word "snap-shot" as a hunting term. He makes extra prints and imagines himself amongst them as uncle Sy while plastering his apartment walls with photographs. He also knows that the husband id having an affair because he examined the photographs. He is an intruder who hides his knowledge behind a friendly smile. Great setup with analysis of his work and home life leading to a powerful ending. Director Mark Romanek graces the film with shots that suggest invasion of the mind. Powerful performance by Williams whose profession is both his doorway to acceptance and his reality to consequence and instability. Connie Nielsen is also strong as the mother whose romantic void is obvious when Williams knows what she doesn't. Michael Vartan as her husband needed more depth but he receives his regret in the most deliberate fashion. Gary Cole plays Williams's boss who pushes him to the limits. Eriq La Salle is superb as a detective whose final scene brings proper resolution and understanding. Loneliness is something nobody wishes to capture on film. Score: 9 / 10