
Because D.J. Caruso uses Rear Window as his template, this teen suspense flick has some built-in interest of its own, but the flattering comparisons stop there. The first half is a distracted mystery that involves a lot of snooping and sleuthing (camcorders being the notable addition to Jimmy Stewart’s tools of trade). The second half is a slickly manipulative house-of-horrors scare show. The overindulged suburban protagonists, it almost goes without saying, are distractingly vacuous (though not necessarily unappealing).










