Most undeservingly overhyped movie of all time??

Absolutely Fantastic

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

The late Donald Cammell ("Performance", "Demon Seed") opts to go for nuance rather than convention in this oddball, experimental drama. People expecting more of a linear drama or Hollywood-type thriller will be sorely disappointed. It's not always that satisfying, but at least it does manage to be interesting. The atmosphere of the setting is well realized, and colourful roles are given to a variety of character actors. At the core of the thing are two vivid and memorable performances by the two stars, David Keith and Cathy Moriarty.After making quite a splash in "Raging Bull" and "Neighbors", Moriarty returned to films after an absence of several years, playing married woman Joan White. Her husband Paul (Keith) is a sound and electronics expert, and a fairly charismatic guy, but he falls under suspicion when a succession of housewives fall victim to a serial killer in their affluent desert community.The big reveal of the story occurs sooner than one would expect, leading to a not entirely predictable finale. Cammell directs with a lot of style - some might argue TOO MUCH style, because he goes awfully overboard on giant closeups of eyeballs. But this is a reasonably entertaining examination of one persons' mental state, and how their worst instincts run contrary to their outgoing demeanour. There's some lovely ladies and definite sex appeal, but not all that much graphic violence.Both Keith and Moriarty are excellent, with Keith managing to remain somewhat engaging through to the end. Art Evans ("Fright Night", "Die Hard 2") is the easygoing detective on the case, Michael Greene ("To Live and Die in L.A.") his associate, Alan Rosenberg ('L. A. Law', "The Wanderers") the obnoxious city slicker, Alberta Watson ("The Keep", 'La Femme Nikita') the oversexed socialite, and William G. Schilling ('Head of the Class', "Ruthless People") the local sheriff.Scripted by Cammell and his wife China Kong (sister of schlock director Jackie Kong), based on the novel "Mrs. White" by Andrew and Laurence Klavan. Music by rock stars Rick Fenn and Nick Mason, of the bands 10cc and Pink Floyd respectively.Seven out of 10.

Shamefully neglected thriller from director Donald Cammell is an outstanding and disturbing character study!Arizonia family man becomes the chief suspect when some local women are violently murdered, but is this charming man the real killer?White of the Eye is a bizarre trip of a thriller that's quite unlike any other film of the thriller/horror genre. Director Donald Cammell gives this film such incredible and dazzling style that one almost becomes hypnotized at times. It's a must-see for those who enjoy art house films. Cammell has a terrific talent for inventive cinematography and well uses the parched filming locations of Globe, Arizona. A nicely atmospheric music score also helps to set up the rather primitive-like setting of the film. Cammell also sets up some truly frightening and creative murder sequences. The story, based upon Margaret Tracy's novel Mrs. White, is a strangely compelling mystery with some great turns and taught suspense. Its a well-paced shocker that escalates to tremendous tension and a excellently executed finale.The films stars are another true highlight. Heroine Cathy Moriarty does a genuinely believable performance as the troubled housewife. Greatest of all though is David Keith. Keith does perhaps his all-time best role with this film. He comes off in a wonderfully charming, and oddly erotic, light. Yet he's also nicely dynamic and manages to turn what could have been a clichéd or over-the-top character into a convincing human. Hollywood needs more David Keiths!Why such an intelligent and finely-made suspense film never became a recognizable classic is simply beyond me. White of the Eye is a completely unique, engulfing, and haunting film. For those who are seeking a 'lost' classic, this film is a TRUE lost classic.**** out of ****

"White of the Eye" is an interesting little film. It does have some stylish murder set pieces and the ending is pretty awesome. Quite a few of the other comments point out that the ending is too "Hollywood". *SPOILERS* Yes, there is a car chase, but it doesn't include cars crashing through giant panes of glass, boxes stuffed with shredded paper, and fruit carts. Nor does the car chase end with a car jumping through a wall of flame. So, just because there is a car chase, doesn't mean it is "Hollywood".Also, the ending does contain a huge explosion, but it too does not feel like it is out of a "Hollywood" film. Actually, the explosion itself doesn't look like a standard Hollywood explosion. There isn't a car flying up in the air, flipping over in slow-motion. There aren't fireballs streaking into the sky, either. It is the kind of explosion that dynamite makes and you can really almost feel the impact this explosion has. The ground trembles and blows into the air with a magnificent roar. Plus, the thunderous chorus accompanying the explosion and the aftermath is a really neat touch.It is neat moments like this that make "White of the Eye" unique while standing apart from Hollywood-type films.

A fellow "film geek" brought this over one night and insisted I drop what I was doing so we could screen it right away. Beginning with one of the most original opening scenes in my memory to the other-worldly climax, this is an incredibly well-conceived and well-crafted movie. David Keith secures his place here in the Pantheon of film weirdos that includes Eric Roberts in Star 80. Oddly, I was so wrapped up in Keith's performance that I didn't notice the flashbacks the first time I watched the film. I think I thought that there were weird inconsistencies in the clothes and the script (uhhhh..weird, dude). Keith's madman is portrayed lovingly here and I think that's why it's so chilling. He's not one-dimensional; he's good and bad more like a good Hitchcock psycho (see Bruno in Strangers on a Train). Danielle Smith is a real treat here. She reminded me a little of Linda Manz in Days of Heaven. She has an amazing face that I couldn't stop staring at and she has a (subtly strange) way with a line ("what's a juvie?"). SEE THIS MOVIE! Tell others about it!