second-most entertaining picture (after The 39 Steps) ever made by Alfred Hitchcock" and a film in which there is "never an instant ... when Director Hitchcock is not in minute and masterly control of his material." The reviewer also noted the "occasional studied lapses of taste and, more important, the eerie sense a Hitchcock audience has of reacting in a manner so carefully foreseen as to seem practically foreordained." Harrison's Reports named the film as a "first-rate thriller" that is "strictly an adult entertainment, but it should prove to be a popular one." They further added, "What helps to make the story highly entertaining is the fact that is enhanced by clever dialogue and by delightful touches of comedy and romance that relieve the tension." Nearly 30 years after the film's initial release, Roger Ebert reviewed the re-release by Universal Pictures in October 1983, after Hitchcock's estate was settled. He said the film "develops such a clean, uncluttered line from beginning to end that we're drawn through it (and into it) effortlessly. The experience is not so much like watching a movie, as like ... well, like spying on your neighbors. Hitchcock traps us right from the first ... And because Hitchcock makes us accomplices in Stewart's voyeurism, we're along for the ride. When an enraged man comes bursting through the door to kill Stewart, we can't detach ourselves, because we looked too, and so we share the guilt and in a way we deserve what's coming to him." In 1983, reviewing the film Vincent Canby wrote "Its appeal, which goes beyond that of other, equally masterly Hitchcock works, remains undiminished." The review aggregator website Rotten Tomatoes reports an approval rating of 98% based on 124 reviews, with an average rating of 9.20/10. The critics' consensus states that "Hitchcock exerted full potential of suspense in this masterpiece." At Metacritic, the film has a weighted average score of a very rare, perfect 100 out of 100 based on 18 critics, indicating "universal acclaim". In his 2012 review of the film Killian Fox of The Guardian wrote "Hitchcock made a career out of indulging our voyeuristic tendencies, and he never excited them more skilfully, or with more gleeful self-awareness, than in Rear Window". Awards and honors Analysis In Laura Mulvey's essay "Visual Pleasure and Narrative Cinema," she identifies what she sees as voyeurism and scopophilia in Hitchcock's movies, with Rear Window used