‘Man in the Attic’ (1953) not quite ready to be psych-horror
On a Hitchcock kick (Movie review): Still, this Jack Palance-starrer takes enough of a different angle from Hitchcock’s “The Lodger” to be worth a peek.
Alfred Hitchcock
‘Man in the Attic’ (1953) not quite ready to be psych-horror
‘Throw Momma from the Train’ (1987) a decent throwaway comedy
On a Hitchcock kick (Movie review): In one of the more interesting Hitchcock riffs, DeVito and Crystal play out the “Strangers on a Train” premise.
Hitchcock’s protagonist gets beaten ‘Downhill’ (1927) by life
On a Hitchcock kick (Movie review): In a prototype for “I Confess,” Hitch asks how much societal BS one person can absorb before it’s too much.
Hitch’s career respectfully launches with ‘Pleasure Garden’ (1925)
On a Hitchcock kick (Movie review): But viewers at the time didn’t get a fair chance to watch the director’s light romance until after “The Lodger” became a hit.
‘The Lodger’ (1927) shows Hitch can be Hitch without dialog
On a Hitchcock kick (Movie review): But modern viewers of this silent classic will likely appreciate the score laid down by Ashley Irwin in 1999.
‘Psycho’ saga takes a truncated shot at TV with ‘Bates Motel’ (1987)
On a Hitchcock kick (TV review): It’s about as far away from Hitchcock’s classic as one can get, but this TV pilot is a bizarre curiosity.
‘Jamaica Inn’ (1939) mercifully ends Hitchcock’s British period
On a Hitchcock kick (Movie review): One year before “Rebecca,” Hitchcock delivers a much lesser adaptation of a Du Maurier novel.
Hitchcock goes behind ‘Torn Curtain’ (1966) to harrowing but uneven effect
On a Hitchcock kick (Movie review): Two movie stars are somewhat wasted in a spy plot, but the peek behind the Iron Curtain is impactful.
‘Suspicion’ (1941) a lesser companion piece to ‘Rebecca’
On a Hitchcock kick (Movie review): You usually can’t go wrong with Hitchcock, Grant and Fontaine, but “Suspicion” goes a little bit wrong.
‘The Wrong Man’ (1956) stands as one of Hitchcock’s most important films
On a Hitchcock kick (Movie review): The director turns his talents to a true story of a wrongfully charged man and appropriately sobers up his filmmaking style.