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Alfred Hitchcock

‘Hitchcock’ at its Heart is a Relationship Film

HollywoodChicago.com Oscarman rating: 3.5/5.0
Rating: 3.5/5.0

CHICAGO – The great director Alfred Hitchcock had morphed to legend rather than a man, so it’s interesting that two films have recently been released about his all-too-human foibles. The feature film, starring Sir Anthony Hopkins as the director, gets inside the man’s relationships in “Hitchcock.”

Liam Neeson Fails to Find Missing Identity of ‘Unknown’

HollywoodChicago.com Oscarman rating: 2.5/5.0
Rating: 2.5/5.0

CHICAGO – “Unknown,” the latest thriller to attempt to turn Liam Neeson into an unusual choice for an action star (a la “Taken” and “The A-Team”), is one of those films that nearly works but falls just short of its audience’s expectations.

Russell Crowe Goes Hitchcockian in Taut ‘The Next Three Days’

HollywoodChicago.com Oscarman rating: 4.5/5.0
Rating: 4.5/5.0

CHICAGO – The suspense thriller is a delicate art that depends on situational realism and unlikely circumstances cohabiting in a heart-pounding plot. The Master of the genre was Alfred Hitchcock, who often put ordinary people in these nail biting scenarios. Director Paul Haggis (”Crash”) uses this theme and does the Master proud in “The Next Three Days.”

Akin to ‘Match Point,’ Woody Allen’s ‘Cassandra’s Dream’ Expressly Hitchcockian

HollywoodChicago.com Oscarman rating: 3.5/5CHICAGO – Woody Allen – the most prolific American writer/director of the last quarter century – has a desire for a particular expression in this last part of his epic career.

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  • Sherlock Holmes with David Arquette (teaser)

    CHICAGO – Different isn’t bad and might be great, but you’d better have an irrefutable reason to change what was never broken. Campy being the only word to accurately convey this alternate-reality version of Sherlock Holmes with an original script, writer Greg Kramer and director Andrew Shaver try too hard to be different without ever figuring out why.

  • Merry Widow, The

    CHICAGO – Standing up at the Lyric Opera house in Chicago is unusual before a show. But in this case, it was the night after a tragedy, and the operetta “The Merry Widow” – set in Paris, France, in 1905 – was about to unfold. The orchestra struck up La Marseillaise, a reminder that we’ll always have Paris.


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