Secret Window

When Mort goes to Ken Karsch's office, Ken hits the button on his clock.

The button is on his (Ken's) left.

Mort reaches forward and pushes the right button to stop the clock.

Later, Ken reaches forward and pushes the right button to start the clock again (this button can't be pushed down; it's already down).

After this, the buttons alternate being up and down throughout the scene.

When Mort and Shooter are talking next to the highway on the path, a cameraman is visible further back on the trail behind Shooter.

When everyone is sitting in the insurance adjuster's conference room, Mr.

Rainey takes a drink of water from a glass that has obvious condensation on the outside.

In subsequent shots, the condensation vanishes, reappears, then vanishes again.

When the UPS van drives away after delivering the package, camera and crew are reflection in the side of the van.

After Mort gets out of his car to confront his wife and her lover at the motel, he closes the car door.

It is both heard and can be seen in the rear view mirror.

When he returns to leave a moment later, the car door is open.

When Mort's wife starts to leave for his house, she puts her purse on her left shoulder and has the divorce papers in her right.

When she is at the door, the papers are in the left hand and the purse on the right.

When Mort is steering the truck down the path going into the quarry, Greenleaf slumps forward onto the steering wheel, which causes the horn to sound.

As Mort continues to steer on the bumpy road, Greenleaf moves forward and backwards, obviously coming off the steering wheel, yet the horn continues to blow.

When Mort's wife tries to escape, she starts her Saab and then struggles to get the manual gear in reverse.

This is illogical, as the Saab has it's ignition at the gear shifter, incorporating a lock for the shifter.

The ignition will always be turned off with reverse engaged, to be able to withdraw the key in these cars.

Mississippi (where Shooter's car is registered) does not require the use of two license plates.

However, since Shooter and his car are part of Mort's imagination, they are not required to adhere to real life.

In the scene of Mort at the hotel driving away in his car, he looks in the left hand mirror which has the words "Objects in this mirror are closer than they appear.

" In actual fact, that label is only on the right hand mirror in cars, and appears to have been applied to the left hand mirror for the movie using a cheap sticker label.

When Shooter puts the shovel against Mort's throat, the shovel bends.

Mort Rainey and his alter ego John Shooter live in a world of psychosis and hallucination, not bound to reality.

Continuity is not required.

Many of the scenes from his perspective are filled with deliberate continuity errors, some of which serve as clues and foreshadowing.

After Shooter calls Mort and tells him where to go, we see Mort approaching the van, coming close to the driver's seat window (along with a quick glance of the backseat side window) being clean.

However, after seeing Greenleaf and Karsch dead, we see a quick cut to the blood-dirtied door windows, a cut to Mort, then a cut to clean door windows.

When Mort finds Tom in the station wagon, initially the window is open.

In the next shot it is closed and covered in blood.

When Mort finds Tom in the station wagon he faints.

First we see him pitch forwards.

Then the camera (from his perspective) pans to the left but we see him land on the ground to his right.

After Mort and Amy exit the elevator, the next shot shows them still getting out.

When Mort shoves Ted at the gas station, the car behind Mort has the driver window down and the rear driver window up.

In the next shot, however, the rear driver window is down as well.

The story about multiple personalities is nothing new, but still interesting. The plot was also OK.

I just recently read "Secret Window, Secret Garden" and decided to finally see the film version of the story. This movie has convinced me to stop watching adaptations of Stephen King stories.

I watched this film yesterday as I have admired a lot of Johnny Depp's acting performances over the years, this film is no exception. Depp turned in another great performance as Mort Rainey, a writer whose life seems to be in a bit of a downturn.

I hated this movie as a kid but revisiting it made me appreciate it on another level.Johnny Depp delivers a convincing performance and the story leads us further and further down the rabbit hole of psychological disorder.

A reclusive, eccentric author moves to country cabin, looking for quiet and solitude during an acrimonious divorce. He spends lengthy periods of time sleeping, pacing around his cabin, and talking to his dog, before finding himself terrorised by a black clad hick accusing him of plagiarism.

This movie should be paying huge debts to much better psychological thrillers like PSYCHO or MISERY (coincidentally, the latter is another Stephen King book adaptation), but nevertheless, SECRET WINDOW is creepy, disturbing and haunting. Not to mention it benefits from a strong performance from Johnny Depp.

The 'big twist' of the film might have surprised some people 15 years ago but today it seems very predictable now. A very standard thriller that is only saved by skillful cinematography and good performances.

I watched this movie because the trailer had a really cool narrator, one of the honest trailer type voices. I could tell it was a King story.

I've ticked the 'spoilers' box, but this review doesn't really contain any spoilers: that's because even a total numb-nuts with the IQ of a flannel could figure out that Johnny Depp's character in Secret Window is a few sandwiches short of a picnic—a schizophrenic whose damaged psyche has created a murderous alter-ego. It's a twist telegraphed so clearly right from the start that it's almost impossible to spoil, although further evidence of Depp's nuttiness is liberally sprinkled throughout for those living vegetables that might struggle with such an oft-used plot device.