Premise - Sy Parrish (Robin Williams) is the technician at the SavMart photo lab where he has worked for many years. Over time he has gotten to know many of the customers, but none more so than the Yorkin family. But just how far does Sy's obsession run? One Hour Photo is simply a stunning film; it's a tour de force of a movie that is not only a stunning debut movie (80's flick 'Static' not withstanding) from an exciting young director, but also boats a career best performance from Robin Williams. Williams is so convincing as Seymour 'Sy' Parrish that you completely forget that you are watching the man that tortured the movie watching world with the likes of 'Bicentennial Man', 'What Dreams May Come', 'Patch Adams', 'Father's Day', 'Jack', 'Flubber' and 'Mrs. Doubtifre'. But, I digress; it seems vulgar to mention such films in the same breath as this stunning performance. Williams builds on the work he did in Insomnia (which was actually filmed after this film, but you understand what I'm saying, right?) and brings to film history one of the finest portrayals of anonymous danger. Williams Sy is the guy you see every day, but never give more than a passing thought to. But, what if he is giving more than a passing thought to you? What if he has become so obsessed with your family that he starts turning up at your lunch break, or your kid’s sports practice? Williams plays Sy perfectly, so ambiguous, so controlled. You're never sure what he's thinking behind those cold, cold eyes. His many voiceovers are delivered with an ice cold matter-of-fact manner that sends a chill down the spine. You're never quite sure what Sy is capable of, Williams never gives anything away and this creates tension from the very first frame. It's tension that continues to build slowly and deliberately throughout the film right up to the final frame. The tension practically drips out of the screen during the scenes where Sy 'bumps' into the various members of the family outside of the SavMart setting, you feel as uncomfortable as the family members, it's impressive stuff. Williams cold ambiguous manner coupled with Romanek's stark visual style leave the viewer unsettled and unsure what to expect next from the film. This certainly no by-the-numbers Hollywood stalker/slasher film, that much is certain. Romanek has teamed up with David Fincher's cinematographer of choice Jeff Cronenweth to produce a visually astounding movie. Although both Fincher and Romenek have a background in music videos, Fincher is a lot flashier than Romanek. Romanek’s style is subdued, but stark and barren. The movie is beautifully filmed, with incredible use of light employed, whether it's in the sterile white photolab or the warm home of the Yorkin's. A stunning lighting effect is used in the final moments of the film to ground Sy in one of his earlier voiceovers. It's an incredible moment and one that will live with me for a good while. I look forward to Romaneks next film as after his work here he can now be mentioned in the same breath as the likes of Soderbergh, PT Anderson, Fincher and Nolan as a new hot director to watch out for. Williams steals this film, but let’s not do disservice to the rest of the cast who step up to the plate and give some admirable work. Connie Nielsen is perhaps the best on offer; she works well as the mother of the Yorkin family. I like Michael Vartan in TV show 'Alias' and it's nice to see him in a film, he is given little to do until later in the film, but he handles some difficult scenes well. Dylan Smith has little to do, but be suitably cute as the Yorkin's son. It's always nice to see Gary 'Boss from Hell' Cole and he again plays a boss here. He had better watch out though, or he'll become stereotyped! Also, apparently there is life after ER as Eriq La Salle pops up later in the film and has some impressive scenes with Williams. The supporting players however, are just the lettuce at the side of the cheeseburger that is Robin Williams. I cannot stress how good he is here; it's easily his best work to date, surpassing the likes of 'The World According To Garp', 'Good Will Hunting', 'The Fisher King', 'Dead Poet's Society' and the recent 'Insomnia'. This is an Oscar worthy performance, but I fear that the Academy might shirk at the films dark subject matter and ambiguous nature. The Academy likes easy films, which One Hour Photo is certainly not. In-fact One Hour Photo is a cold, dark, ambiguous film that leaves the viewer unsure of its direction for the entire running time. It asks questions of the viewer constantly and leaves itself burned into the viewers conscience long after the end titles have rolled and the lights have came up.

9/10 for One Hour Photo. Poster Quote - A nice development.