The book that collected those interviews, originally published in 1966 in France as Le Cinéma selon Alfred Hitchcock and later printed in English under the title Hitchcock/Truffaut, become one of the most sacred texts in all of cinema; any film buff worth their salt has a copy on their shelf, dog-eared and highlighted. And now one of the foremost movie buffs in the country has turned that book into a film. …Read More
De Palma has both the scope and specificity of the essential text Hitchcock/Truffaut, covering the entire career (even the movies we don’t really talk about) with pausing for in-depth explanations of the reasoning behind certain iconic shots, or the aesthetics of trademark techniques. …Read More
Twenty years ago this week, Bryan Singer’s The Usual Suspects opened in theaters, and everybody lost their minds. It ended up redefining the “twist” ending, becoming a kind of shorthand for a left-field, eleventh-hour plot development that reconfigures everything that’s come before. But it was neither the first nor last movie to do that ending, or do it well. …Read More
Today, New York’s Film Forum kicks off a four-week, 50-film “True Crime” festival, spotlighting some of the most iconic dramas, mysteries, and thrillers based on real events. It’s one of our most durable genres — the festival spans something like eight decades — and for good reason: the best true crime movies are often tense, gripping, and suspenseful (even when we already know the outcome). Here are a few of our all-time favorites.
Dozing off on the couch Memorial Day evening with a belly full of improperly cooked-out burgers and cheap beer is a bit of a holiday tradition (in our house, anyway), but this year, there’s a particularly fascinating bit of television programming for you to nod off to: Grace of Monaco, in which Oscar winner Nicole Kidman plays iconic movie-star-turned-princess Grace Kelly. This was supposed to be a giant movie: opening the Cannes Film Festival, awards season push by the Weinstein Company, Oscar glory. Instead, it’s quietly making its stateside debut on Lifetime, a network better known for cringe-worthy original biopics and tales of women in jeopardy. So how did such a prestige project end up on a punchline network? Let’s roll the tape.
Daphne du Maurier, born on this day in 1907, is a difficult author to categorize. While British literature was heading into the realm of complex modernism, her gothic mysteries and twisted love stories were a deliberate throwback to the motifs and concerns of writers like Anne Radcliffe and the Brontës, particularly Jane Eyre. Yet her storytelling was so eerie and compelling, so full of twists on the uncanny, that she inspired a few of Alfred Hitchcock’s most memorable screen efforts.
Dark Rooms, the debut novel by Lili Anolik, is the sort of mystery that you will rip through in a night. Early on, narrator Grace Baker quotes Edgar Allen Poe: “The death of a beautiful woman is, unquestionably, the most poetical topic in the world.” For Grace, however, it’s not so poetic — her beautiful younger sister, Nica, was murdered on the grounds of their prep school, upending Grace’s life. In the aftermath of the killing, Grace is seeing things through a haze of prescription drugs, a college dropout obsessed with solving the crime.