Well I haven't seen too many movies starring Mia Farrow. Her most famous role is probably as Rosemary in Rosemary's Baby in which she performed greatly. It was a pleasant surprise to see her in the main role. 9 years later she doesn't seem to have aged much. And here she also carries the movie. And again it revolves around a child of hers. Trying to get over the loss of her daughter Julia leaves her husband and goes to live on her own. What she doesn't know is that the house holds a dark secret. She starts to see visions of a girl that looks a lot like her own daughter. As she is trying to reveal this mystery with the help of people knowing bits of info about the past inhabitants of the house, bad things start to happen to people around her. I must have missed a few things as I didn't understand Julia's actions sometimes. Reading some opinions here it's more clear to me now and I must applaud the writer for it's cleverness. It's based on a book which probably explains things a bit better than the movie. Very overlooked which it really shouldn't be.

Plenty of people know the Mia Farrow movie Rosemary's Baby, but few know this film, which was based on the book Julia by Peter Straub. It was originally released in the UK as Full Circle, where it bombed before doing poorly in the U.S.

It was directed by Richard Loncraine, who helped make Band of Brothers on HBO and the incredible music film - and another bomb that has been recognized as a great movie years later - Slade In Flame.

Julia Lofting's (Farrow) life changes in a second: her daughter chokes on breakfast and an emergency tracheotomy causes her to bleed to death. This causes her to leave her husband (Keir Dullea) and move into a flat that's filled with toys which once belonged to a girl named Olivia, a young woman with such a power over the other children that she could make them kill one another.

The movie sat unreleased in the United States until it was discovered, along with the Richard Burton movie Absolution, by a movie fan who worked to get both movies into theaters.

This was on Shudder for a few weeks, but is no longer on the service. It's not a great film, but it's interesting. I got my copy at a convention years ago and don't regret the purchase.

Thirty-three years ago this seemed like a tired takeoff on DON'T LOOK NOW. With the clunkers that are presently out there, it looks like a masterpiece.

Why? Well, it's not an EXACT copy – also, it has these people called ACTORS in it.

Of course, modern audiences probably wouldn't find it very exciting. After all, the botched-up tracheotomy and infantile castration are both off-screen.

Furthermore, it has a story, that thing, you know, giving you a headache and taking time away from the torture porn. No, they wouldn't like it at all.

Have you noticed those "user comments" on film sites? You know: I Don't THINK THIS IS A VERY GOOD MOVI In fact I THINK THIS MOVI SUKS AND ALL MY FRIENDS THINK SO TO I Don't KNOW WHY ANYONE WOULD THINK THIS WAS A GOOD MOVI CAUSE IT Totally SUKS Totally SO AL YOU MORANS OUT THERE WHO THINK THIS IS A GOOD MOVI GET A LIFE CAUSE YOU SUK (Was this comment helpful to you?) Originally I just thought it was because, as we all know, the Internet is for Retards. But I'm beginning to think that this may actually be a sample of the movie-going community, some of them perhaps even twelve years old or more.

Apparently, this is an adaptation of a novel by Peter Straub, who also supplied the goods in the dazzling GHOST STORY. MIA FARROW is as vulnerable as ever, and KEIR DULLEA her son-of-a-bitch husband – he should probably have stayed on Jupiter.

The traumatic loss of a child has of course long since become a stock-and-trade of horror movies, the idea being that it makes the bereaved mother more susceptible to supernatural influences (especially dead children). Nor, I'm sure, will it come as a great surprise to anyone that the juvenile ghost is "evil".

Still, the concoction is served with an enthusiasm and attention to detail and effect, from the cozy séance turning into a nightmare to the mother's gleeful confession that she throttled the little monster, that keep you watching. Unfortunately, what might have been an ominously "happy" ending is jettisoned for a standard horrific one.

There is the usual amount of body-bags and puzzlement on the part of the audience as to why missing people aren't missed – still, British professionalism is everywhere present. Jolly good show!