After middling creative success with what today play like filmed theatrical works early in the sound era, Alfred Hitchcock opens up to the medium’s potential
Alfred Hitchcock slowly and steadily moves closer to learning how to do sound films (which, to be fair, put him in the same boat as
“Murder!” (1930) is an early example of Alfred Hitchcock’s favorite theme of the wrongly accused person (in this rare case, a woman rather than a
“Easy Virtue” (1928), the sixth among Alfred Hitchcock’s preserved silent films, today plays like a symphony orchestra performance accompanied by moving images. As with most
“Blackmail” (1929) is one of the first British talkies, and that might’ve been exciting at the time, but it plays like modern 3D film when
If one has been watching a string of horror films that don’t quite get things right, “Oddity” plays like a revelation. A scary vibe –
Some sexbot films avoid discomfort with camp and a few laughs. Others confront the discomfort head-on and reveal the wrongfulness of sex toys – especially
As her career launched, like most actresses, Christina Ricci supplemented artistic, critic-lauded work with better-paying gigs, which likely explains her top billing in “The Gathering”
Any dive into the great film noirs has to include “The Third Man” (1949), often ranked among the best British productions of all time. Interestingly,
With his sixth sound film, “Number Seventeen” (1932, sometimes titled as “Number 17”), Alfred Hitchcock accidentally showcases his skill in action direction and editing. It’s