"One of the scariest, most pessimistic modern horror movies, dressed as a romance. Roeg never had the elements come together the way they do here. Pino Donaggio’s score is unforgettably lush, and a reminder of how vital a collaborator movie music is. Christie and Sutherland are chic in deserted Venice. One of the most shocking climaxes ever—dread-filled and bloody. One of Paramount’s big Christmas films of 1973—today you can only marvel at that."

"I love it. Bernard Edwards is one of my favourite bass players; that bass-line is super funky, there can’t be a better one. And of course this is written and produced by Nile Rodgers. It’s basically a Chic track with Carly Simon on vocals. I think she’s pretty amazing, but I’m not a huge fan. I’d always associated her with being kind of country, and a little soft pop – which is pretty – and had no idea she was capable of making music like this. It’s a totally different vocal style, on a whole new level. This song is incredible."

"Antonioni’s best film. This movie puts me into such a pleasurable deep funk. Profound, chic, visual existentialism has always been up my alley. Every image is boldly striking—from the hustle and bustle of the stock market (as timely as today’s headlines) to the urban architectural landscapes to the lovers Monica Vitti and Alain Delon. The last are especially easy on the eyes. This movie caters to the intellectual fantasy in many of us. If you are a professional philosopher or lay thinker (like myself) who likes to contemplate the nature of “reality,” the last ten minutes will totally blow your circuits. This is one very cool movie. Richard Peña’s commentary has so much information, minute for minute, you wonder how the guy keeps it all in his head."