A woman-in-peril movie is a not a new thing (just think of “Wait Until Dark,” “Eyes of Laura Mars,” or “Panic Room”), and neither is a woman-in-peril movie in which the heroine, after being stalked and terrorized, takes charges and fights back.
That was the scenario, 30 years ago, in “Sleeping with the Enemy,” a grindingly effective but rather reductive B-movie that became a success in the summer of 1991, mostly because it was the first film designed as a dramatic showcase for Julia Roberts after “Pretty Woman.” You could say that the premise of just about every woman-in-peril movie is that toxic masculinity is out there, that it’s scary and violent and dangerous, and that it’s coming for you. (That was true decades before the term “toxic
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