So my attempt to watch this movie got interrupted four times:
1. I fell asleep.
2. I watched the finale of America's Next Top Model.
3. I bought a Blu-Ray player (yay)!
4. I taught a class.
Did these interruptions matter? Not a bit, because a cohesive narrative structure that relies upon a developmental model of character, plot, motivation, etc., is not at play here. Rather than modernist, which is what I thought this movie would be from the description, this one struck me as postmodernist.
I shall defer to my brainmate, who knows pomo a lot better than I, for a definite ruling, but the fact that minutes, years, and months are all equated, characters are doubled and unnamed, and the multiple narratives are presented, none of which are privileged, struck me as a postmodernist move. No matter what we call it, I agree that these choices drained all possible suspense or menace from the movie. I went from thinking the stalker dude was a mindfucker to thinking he was a rapist to thinking the (possible) husband/gambler was abusive, to thinking the woman was a mindfucker, to thinking that that wasn't the point of the movie at all. But to sustain a thriller, I think you NEED to have a world that believes in things like history and motive and character. Do you agree, Nat? Can you think of a suspense/horror/mystery movie that abandons character and history and works? Zodiac comes to mind, but it's not nearly as formally experimental as this one.