One of John Ford’s greatest films gets a superlative Ultra HD release that’s only slightly marred by a few restoration shortcuts.
Norman Bates gets out of the funny house and reacquaints himself with the tedium of a day job. It doesn’t go well.
Psycho’s power is not just that of a showman’s calibrated scare machine.
An excellent and thoroughly un-Ford-like Ford western.
The Wrong Man is one of Hitchcock’s most affecting tragedies.
The sense of moral responsibility in Hitchcock’s films may have never felt more imperative and succinct.
All of Robert Aldrich’s early work is intriguing, but Autumn Leaves is his secret gem.