5.1/10
14,140
417 user 90 critic

Eye of the Beholder (1999)

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2:20 | Trailer
A private eye shadows a female serial killer of men all over the U.S. without her knowing as he, strangely enough, occasionally acts as her guardian angel.

Director:

Stephan Elliott

Writers:

Marc Behm (novel), Stephan Elliott (screenplay)
1 win. See more awards »

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Cast

Cast overview, first billed only:
Ewan McGregor ... Eye
Ashley Judd ... Joanna
Patrick Bergin ... Alexander Leonard
Geneviève Bujold ... Dr. Jeanne Brault
k.d. lang ... Hilary
Jason Priestley ... Gary
Anne-Marie Brown Anne-Marie Brown ... Lucy Wilson
Kaitlin Brown Kaitlin Brown ... Lucy Wilson
David Nerman ... Mickey Argyle
Steven McCarthy ... Paul Hugo
Vlasta Vrana ... Mr. Hugo Sr.
Janine Theriault Janine Theriault ... Nathy
Don Jordan ... Toohey
Maria Revelins Maria Revelins ... Ms. Keenan
Lisa Forget Lisa Forget ... Nurse
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Storyline

British Consulate investigator Det. Stephen Wilson, a.k.a. the Eye, comes across a disturbed lady serial-killer while on an otherwise mundane assignment. Already a bit psychologically fragile from his wife's abrupt removal of herself and their daughter from his life (with the lingering memory of his daughter haunting him like a manifest ghost), his psychosis as a displaced dad dovetails with the femme fatale's psychosis as an abandoned daughter (crying "Merry Christmas, Daddy" over her expired victims). A bond forms, or, rather, an obsession, as the Eye abandons his job to secretively stalk this mysterious woman full-time as she visits many major U.S. cities under various names, leaving numerous victims. Written by statmanjeff

Plot Summary | Add Synopsis

Taglines:

Obsession is in the eye of the beholder.


Motion Picture Rating (MPAA)

Rated R for some strong violence, sexuality, language and brief drug content | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Urban Cinefile (Australia)

Country:

Canada | UK | Australia

Language:

English

Release Date:

28 January 2000 (USA) See more »

Also Known As:

Voyeur See more »

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Box Office

Budget:

$35,000,000 (estimated)

Opening Weekend USA:

$5,959,447, 30 January 2000

Gross USA:

$16,500,786

Cumulative Worldwide Gross:

$17,589,705
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Director Stephan Elliott fought the film's financier, Mark Damon, over the tone of the film. Elliott envisioned the film as a dark thriller with sex and random lashings of violence. Damon wanted a more A-to-B thriller that he could sell worldwide. Ironically, many of the Asian markets that bought the film wanted a sexier and more violent version of the film. See more »

Goofs

When the camera swings behind Stephen as he watches Joanna leave the hospital, there's a cigarette dangling form his lips, but when the camera changes immediately to a front shot, there is no cigarette. See more »

Quotes

Stephen: My wife was right. I spent my whole life hiding behind computer screens, and it cost me my daughter. But it's time to let go because... because I met an extraordinary woman and she needs my help. I won't make the same mistake twice.
See more »

Crazy Credits

The final credit reads: "for ... hal, tex, francis, federico, hitch, chuck, walter, steven and jacques." See more »

Alternate Versions

Canadian DVD offers a deleted scene (where the Eye has a final conversation with his daughter, via a dream sequence) and an alternate ending. The latter shows an epilogue after the crash, where we see the Eye standing at Joanne's grave. As he's leaving, he spots a young girl visiting her mother's nearby plot, and has a bonding moment with her. See more »

Connections

Referenced in The Holiday (2006) See more »

Soundtracks

I Wish You Love
(Que Reste-t-il de nos Amours ?)
Music by Charles Trenet and Léo Chauliac
French lyrics by Charles Trenet
English lyrics by Albert Beach
Produced by Marius De Vries
Performed by Chrissie Hynde
Used by permission of EMI Virgin Music, Inc.
Courtesy of Warner Music UK Limited
See more »

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User Reviews

 
quality is in the eye of the beholder
6 July 2000 | by mercury-26See all my reviews

This thing must have looked good on paper--the only reason I can think of that Ewan MacGregor and Ashley Judd would associate themselves with it. Funny thing is, I think there might be a good movie in here somewhere. I mean, was it good at some point until some outside force--a producer or a test audience, for instance-started messing with it? The plot is incomprehensible, something producers in screening rooms tend to not like. "But we have to put SOMETHING out there for god's sake! It's got two big stars in it!" My question is, did their tinkering make the film more or less confusing?

We may never know. Having paid close attention to the film (the interesting direction and photography held my attention), however, I have been able to surmise the following: a spy code-named ‘Eye,' (the miscast Ewan MacGregor) who's afraid of his own shadow, not to mention losing his mind since his wife left him (this same subject was covered in the far superior Zero Effect), falls in love with a beautiful killer (Ashley Judd). He's supposed to be getting her arrested but, as he keeps following her, becoming more and more obsessed, he starts protecting her. Judd's "Joanna" is a parasite. She targets well-to-do men, feeds off of them for a while, then kills them. Eye also tries to protect her victims from her, but usually fails--until she becomes a victim herself at the hands of the scary, creepy Jason Priestley (yes, THAT Jason Priestley). He saves her, only to lose her, then finds her again. This time he has the nerve to actually talk to her. But will he finally do his job and turn her in or will he become her next victim?

Before I start sounding too much like the back of a video box, let me just say that there is a lot here for those willing to pay close attention to it. Too often, though, it seems like it's trying too hard to be interesting, doing so at the expense of storytelling. It also seems self-important--as if they don't want the audience to understand. Some parts of it are just plain bad (like every one of k.d. lang's scenes).

Like I said, watch closely and you may get something out of it. Then again, no one should have to work that hard at watching a movie.

Grade: D


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