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Chillingly humorous Hitchcock piece of work. It's always great to take a revisit to Frenzy some years after your last viewing, to re-evaluate it post haste. As a proud Englishman it gives me great pleasure to see the Master back in England capturing the English time frame of London perfectly, for the film works because we really get the vibe of the place and believe in the characters who frequent the area, Hitch delivers this no problem at all. The story stands up as genuine thriller material, some crazy fruit loop is strangling women with neck ties and the police are trailing the wrong man...Sound familiar? Well yes it is, but Hitch being Hitch, he manages to bring dashes of humour to go with the tense taut terror unfolding on the screen. The cast do fine here, and I do believe that the fact that none of the actors are top draw names actually helps the film bring out an uneasy feel, here the interesting fleshing of the characters is one of Hitchcock's great strengths in this particular piece. The villain of the piece stands up as one of the best because he could easily be your best mate, someone you readily turn to in times of need, yet strip away that facade and you get the savage murdering rapist that Hitchcock takes great delight in assaulting our eyes with. Lovely...Lovely...LOVELY....LOVELY ! Although its rating on the IMDb movie site hovers around 7.5 I have always been led to believe that Frenzy wasn't all that well thought of, with tales of America refusing to embrace the film because of the London sensibility, and tired old arguments about the great man being past his peak etc. I have no idea if any of those statements are true? But what I personally know is that Frenzy is a very good film that has me squirming and laughing in equal measure. So with that it may just be shy of being a Hitchcock classic, but still it stands up as better than what most other thriller directors could ever have hoped to have achieved back in that era. 8/10
This is one of those thrillers that is in no way a whodunnit as it becomes evident very early on that the killer is who you think it is going to be. But that is not sloppy film making, it is entirely deliberate, for the mystery here is not who is the killer, but will he get away with it, and what will happen to our hero? It is a well plotted piece, and, oddly, based on a true story. [see Jack The Stripper - https://en.wikipedia.org/wiki/Hammersmith_nude_murders] Some fine performances from good, steady actors, all giving well rounded characterisations, especially Barry Foster and Billie Whitelaw. The general feel of London in the early 70s is well presented, and the locations are well chosen to give the overall viewing of the film a very satisfactory glow. Not one of Hitchcocks classics, to be fair, but still a great film and one that will certainly entertain.
This is probably my least favourite Hitchcock story. It is still cleverly constructed, but somehow it has a vulgarity to it that I rather struggled with. The premiss is a serial killer who has been brutally killing women using a neck tie, then dumping their bodies. The police are baffled until "Brenda Blaney" (Barbara Leigh-Hunt) is found raped and killed in her office, and suspicion falls on her ex husband "Dick" (Jon Finch). He flees, is apprehended and judicial process takes it's course. We all know who actually killed "Brenda" so insofar as this is a murder mystery, then that's that. It is, though, quite a curious character study of the mind of a man who is jovial and engaging one moment, then brutally lethal the next - a sort of deadly schizophrenia that might be borne out of sexual frustration, or misogyny, childhood - all of the above? Barry Foster is efficient, if a little lightweight as "Rusk" and there are enthusiastic efforts from Anna Massey and pub landlord Bernard Cribbins. What raises this (slightly) above the norm, is the fun sub-plot between Alec McGowen ("Chief Insp. Oxford") and his wife Vivien Merchant - she a budding gourmet who seems intent on offering the poor man the most complex dishes when all he wants is pie and mash; and - as ever with Hitch - intimate and clever use of the camera. What suspense there is all comes to a rather weak head, I felt, and though this is still an eminently watchable film, it is all just a little bit tacky, and it lacks much that made it's director great. It might have worked better in black and white?
Something monstrous is slaughtering deer in the marshlands of Ohio, leaving them torn to shreds. Authorities believe it to be the work of a bear, but army veteran Jack Sullivan knows the truth. He has heard the creature’s name, but nothing can prepare him for the disturbing reality of BIGFOOT. The original monster of American folklore, Bob Gray’s Bigfoot is more savage, relentless, and bloodthirsty than he’s ever been before. The deer were just the beginning. He’s saving his ultimate wrath for the men who enter his domain.
When Kelly Morgan was 11 years old he had a terrifying encounter with Rana, a strange half man/half frog monster living in a lake. The creature killed his father and many other people before Kelly destroyed it. Now as a young man he returns to search for the monster's hidden treasure, and to see if the legendary creature really was killed.
Two young men, Martin and Rudi, both suffering from terminal cancer, get to know each other in a hospital room. They drown their desperation in tequila and decide to take one last trip to the sea. Drunk and still in pajamas they steal the first fancy car they find, a 60's Mercedes convertible. The car happens to belong to a bunch of gangsters, which immediately start to chase it, since it contains more than the pistol Martin finds in the glove box.
Twenty-eight days after a killer virus was accidentally unleashed from a British research facility, a small group of London survivors are caught in a desperate struggle to protect themselves from the infected. Carried by animals and humans, the virus turns those it infects into homicidal maniacs - and it's absolutely impossible to contain.
After Silvia Broome, an interpreter at United Nations headquarters, overhears plans of an assassination, an American Secret Service agent is sent to investigate.
John Anderton is a top 'Precrime' cop in the late-21st century, when technology can predict crimes before they're committed. But Anderton becomes the quarry when another investigator targets him for a murder charge.
An American journalist arrives in Berlin just after the end of World War Two. He becomes involved in a murder mystery surrounding a dead GI who washes up at a lakeside mansion during the Potsdam negotiations between the Allied powers. Soon his investigation connects with his search for his married pre-war German lover.
Jackie Brown is a flight attendant who gets caught in the middle of smuggling cash into the country for her gunrunner boss. When the cops try to use Jackie to get to her boss, she hatches a plan — with help from a bail bondsman — to keep the money for herself.
In a near-future Britain, young Alexander DeLarge and his pals get their kicks beating and raping anyone they please. When not destroying the lives of others, Alex swoons to the music of Beethoven. The state, eager to crack down on juvenile crime, gives an incarcerated Alex the option to undergo an invasive procedure that'll rob him of all personal agency. In a time when conscience is a commodity, can Alex change his tune?
Slevin is mistakenly put in the middle of a personal war between the city’s biggest criminal bosses. Under constant watch, Slevin must try not to get killed by an infamous assassin and come up with an idea of how to get out of his current dilemma.
Some of Sin City's most hard-boiled citizens cross paths with a few of its more reviled inhabitants.