
San Franciscans Drake Goodman and Patty Palmer are taking their relationship to the next level not only by moving in together, but their new abode being a house they purchase. Despite it being slightly outside of their price range and only affordable to them in the right circumstances, they purchase a Victorian house in Pacific Heights. Those circumstances include making all the necessary renovations on their own, and immediately renting out the two suites on the main floor a... (Full plot summary below)
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San Franciscans Drake Goodman and Patty Palmer are taking their relationship to the next level not only by moving in together, but their new abode being a house they purchase. Despite it being slightly outside of their price range and only affordable to them in the right circumstances, they purchase a Victorian house in Pacific Heights. Those circumstances include making all the necessary renovations on their own, and immediately renting out the two suites on the main floor at a specific price point. While they rent out the rear one bedroom unit to the Watanabes without incident, outwardly wealthy Carter Hayes is able to manipulate his way into renting the front studio apartment, partly in promising to pay half a year's rent in advance. Drake and Patty eventually learn that Carter, whose money they do not receive, is in the "business" of causing havoc in such rental situations to ruin the owners financially, he being the tenant from hell. In Carter seemingly knowing how to manipulate the system to his benefit including the proverbial possession being nine-tenths of the law, Drake and Patty also learn from the police and Stephanie MacDonald, the property lawyer they hire to help evict Carter and who they cannot afford, that the law is on Carter's side, the process to get him out costly and time consuming. As the battle between Drake/Patty and Carter escalates, which also includes the Watanabes being caught in the crossfire, it becomes potentially deadly if either side crosses a breaking point.
Leave your thoughts about Pacific Heights.
| Boston GlobeJay CarrSchlesinger, using slick camera angles and direction that bear a striking similarity to those of the old master himself, manages to pile on that tension in spades. |
| Orlando SentinelJay BoyarAlternately grim, playful, and gripping, PACIFIC HEIGHTS breathes new life into what was becoming a moribund genre. |
| Rolling StonePeter Travers[Keaton] delivers a chilling performance, imbuing what could have been a one-note nut case with unexpected reserves of feeling. The acting and direction don’t fill in all the credibility gaps, but they do make for classy, crackling suspense. |
| The New York TimesJanet MaslinPacific Heights deserves a little credit for originality, and a little more for remaining within the realm of realism until a contrived, violent ending becomes overdue. Thanks to its three stars and a well-chosen supporting cast, the film remains sly fun even when its characters begin making silly mistakes. |
| San Francisco ChronicleMick LaSalleThe specter of a menace who invades one's home turf and can't be ousted is universally disturbing, and director John Schlesinger goes all out to make this creepy thriller-chiller as unsettling as it needs to be. |
| USA TodaySusan WloszczynaSchlesinger stages the action with smooth assurance, gradually building tension until Hayes goes completely round the bend. The problem lies in Daniel Pyne's script: the relationship between Drake and Patty is half-realised, while Hayes' motivations remain strangely muddled. That said, Keaton is chillingly convincing. |
| Chicago Sun-TimesRoger EbertPacific Heights could stand comparison to "Rosemary's Baby." Both films are about a young couple who are deeply concerned by events that seem to be happening in another flat in their building. The difference between the movies is instructive: Roman Polanski insinuates us into the gradually growing horror of his couple in "Rosemary's Baby," while John Schlesinger, in "Pacific Heights," seems concerned only with generating the most obvious shock effects. |
| Los Angeles TimesPeter RainerSchlesinger doesn’t really have the low-down skills to pump up the pulp. He’s so concerned not to relinquish his credentials as a “serious” director that the film, instead of seeming serious, seems mostly silly--not scary enough to function as a crackerjack thriller and not complex enough to work as a psychological drama. |
| Entertainment WeeklyOwen GleibermanYou can’t make a good thriller when the most pressing issue is whether the protagonists will have to default on their mortgage payments. |
| Washington PostRita KempleyDirector John Schlesinger bolsters the rickety script with cameras that spin like Linda Blair's head. If you don't get spooked, you'll at least get dizzy. |