One of the most iconic movies of the Sixties, to be sure, but not one that has aged particularly gracefully. The main problem is that Hoffman's character steadily evolves into a creepy stalker as the film progresses. The best thing about the film besides its dead-on portrayal of the stifling awfulness of suburbia, are Robert Surtee's camera work and Sam O'Steen's editing, which still stand out as innovative.