In theaters

WHAT LIES BENEATH. Directed by Robert Zemeckis. Written by Clark Gregg. 130 minutes. Rated PG-13.

Robert Zemeckis’ “What Lies Beneath” has four things going for it: a good director in Zemeckis (“Forrest Gump,” “Back to the Future”), a strong cast in Michelle Pfeiffer and Harrison Ford, superior production values, and the ghost of Alfred Hitchcock hovering over the entire production.

How much does Hitchcock influence Zemeckis’ film? Considering that Ford plays a character named Norman and much of the film’s early suspense comes straight out of “Rear Window” (Pfeiffer’s character uses binoculars to spy on a neighbor she suspects of committing murder), let’s just say that Hitch is rattling chains at every turn.

“Beneath,” which draws from too many other films, especially “Ghost,” “Ghost Story,” and — to a lesser degree — Hitchcock’s “Rebecca” and “Suspicion,” is beautifully shot, nicely scored and well-crafted. That is, unfortunately, until the last 20 minutes, when Zemeckis mistrusts himself and his audience, and relies fatally on the ending of “Fatal Attraction,” which brought down that film — and, unremarkably, has the same effect here.

But “Beneath” is still worth seeing, if only for the way the film’s mystery is slowly revealed in ways that keep you rooted to the screen.

If you’re interested in seeing the movie and have been lucky enough to avoid the trailer, which reveals too many key plot twists, we’ll leave it at this: Claire Spencer (Pfeiffer), wife of Norman (Ford), is certain their Vermont home is haunted by a woman desperate to tell her something.

Doors open at will, bathtubs fill with water, photographs fall from desks, telltale words appear on bathroom mirrors. Beneath these clues lies a mystery that sweeps Claire to the edge of insanity as distressing truths about her personal life are gradually revealed.

With Pfeiffer and Ford fine in their first pairing, and Diana Scarwid (the adult Christina in “Mommy Dearest”) fun as Claire’s irreverent friend, “What Lies Beneath” is a good, sometimes gripping popcorn movie that finds considerable suspense in its restraint until everything falls apart at the end, where Zemeckis not only sees dead people — but creative death in his ridiculous, way over the top denouement.

Grade: B

THE IN CROWD. Directed by Mary Lambert. Written by Mark Gibson and Philip Halprin. 110 minutes. Rated PG-13.

The catchy advertising slug for Mary Lambert’s new film, “The In Crowd,” asks its core audience of teens the tantalizing question, “What would you do to get in?” Since my companion and I were only two of four people who attended a recent screening, apparently not many will do much to get in — and that’s just the way it should be.

“The In Crowd” is a bad movie, for sure, but it’s bad in ways that made television shows such as “Dynasty” and “Melrose Place” oddly enjoyable.

It’s a paradox. If it hadn’t made me laugh so hard throughout certain parts of it, it certainly would have snagged an F. But sometimes a mix of camp, bad acting and terrible dialogue — when delivered by the actors with the utmost seriousness, as it is here — can be great fun to watch unfold.

The film follows Adrien Williams (Lori Heuring), a tumble of blonde curls from the wrong side of the schoolbus who suffers from “erotomania,” a sexual disorder that’s landed her at a psychiatric hospital that features patients literally frothing at the mouth.

Yes, this is that kind of movie.

Things heat up when Adrien is released by Dr.Thompson (Daniel Hugh Kelly) to work at a country club for rich kids and their parents. The place is supposed to give Adrien structure, a strong work ethic, but she’ll only be allowed to stay as long as she works hard and “knows her place” as a nutcase serving booze to out-of-control, wealthy brats.

At the club, Adrien meets Brittany Foster (Susan Ward), a saucy sexpot with butterflies for eyelids (you have to see her eye makeup to believe it) who is known by all her friends as “Queen Bee,” a popular witch who has most of the men after her — and some of the women.

Naturally, everything goes to hell for Adrien when she stumbles upon Brittany’s deepest, darkest secret, which, when outed in “The In Crowd,”turns this film’s last moments into 10 minutes of hysterical hysteria.

Grade: F+

Christopher Smith is the Bangor Daily News film critic. His reviews appear Monday and Thursday in the NEWS, and Tuesday and Thursday on NEWS CENTER at 5:30 and NEWS CENTER at 11.