Ben Wheatley's adaptation of the Daphne du Maurier novel is little more than a panoply of trick effects, though Kristin Scott Thomas makes a memorable Mrs. Danvers.
‘s “Rebecca” is that we should be wary of impostor syndrome, specifically the impulse to compare ourselves too anxiously with a beloved predecessor. The second Mrs. de Winter learns this the hard way: Her whirlwind romance and fairy-tale marriage are soon overshadowed by the memory of her husband’s late first wife, Rebecca, a formidable rival who, like many ghosts, is not entirely what she appears to be.
They meet in Monte Carlo, where Maxim is recovering from the trauma of Rebecca’s drowning death, and where our nameless heroine is serving as paid companion to a vulgar tourist . A tray of oysters, a few scenic coastal drives and some gauzily shot beachfront sex later, Maxim is whisking his new bride off to his coastal manor, where the malevolent specter of Rebecca swiftly asserts herself.
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