Hitchcock’s ‘Lifeboat’ (1944) reminds us that Nazis are evil
On a Hitchcock kick (Movie review): One of Hitchcock’s most stripped-down movies is also among his least surprising.
Alfred Hitchcock
Hitchcock’s ‘Lifeboat’ (1944) reminds us that Nazis are evil
‘I Confess’ (1953) derives suspense from one man’s silence
On a Hitchcock kick (Movie review): Normally a flawless character is boring, but this tale of an upstanding priest is an exception to that rule.
‘Sabotage’ (1936) puts Hitchockian traits in a tidy package
On a Hitchcock kick (Movie review): With its vibrant setting amid the London streets, this is an energetic and entertaining Thirties suspenser.
Hitchcock improves on his own ‘The Man Who Knew Too Much’ (1934, 1956)
On a Hitchcock kick (Movie reviews): Hitchcock knew a lot more about moviemaking by the time he took a second crack at this story of an average family thrown into international intrigue.
‘Family Plot’ (1976) is a diamond to close Hitchcock’s career
On a Hitchcock kick (Movie review): Barbara Harris, Bruce Dern and William Devane are a blast to watch in this thriller about dual criminal couples.
Mix of romance, psychology, mystery leaves a viewer ‘Spellbound’ (1945)
On a Hitchcock kick (Movie review): The chemistry of Bergman and Peck propels this early filmic exploration of the human mind.
‘Mr. & Mrs. Smith’ (1941) should break up over being unfunny
On a Hitchcock kick (Movie review): Hitchcock is the Master of Suspense, but this stultifying piece of evidence suggests he’s not the Master of Comedy.
‘The 39 Steps’ (1935) is Hitchcock’s foundational light spy thriller
On a Hitchcock kick (Movie review): Many of the director’s tricks and traits are on display in one of the best entries from his British period.
Hitchcock’s most overrated film is for ‘The Birds’ (1963)
On a Hitchcock kick (Movie review): Although perhaps impressive at the time, this natural disaster flick lacks the director’s usual suspense.
Hitchcock comes to America in style with ‘Rebecca’ (1940)
On a Hitchcock kick (Movie review): Arguably the director’s first perfect film, “Rebecca” is driven by an achingly sympathetic Joan Fontaine.