Really, the Darling film’s most evident impact is not the Stephen King novel/Stanley Kubrick film but instead Roman Polanski’s Repulsion, with more than a touch of The Tenant tossed in for good measure. Sadly, Darling’s very apparent derivativeness feels less like praise than sham.
In any case, as shams go, it’s a well-done, noteworthy one. The film starts in delectably enticing style when a young lady (Carter) is utilized as a guardian by the more seasoned “Madame” (Sean Young, dependably amusing to see) who calmly specifies that the last individual who accepted the occupation hopped off the building’s gallery to her demise.
Darling, as her manager calls her, is then taken off alone with a great deal an excess of time staring her in the face as she meanders through the richly designated environs and starts to disintegrate rationally.