square-eyed-geek’s Top Ten Films of 2020

For the longest time, I wasn’t going to write a top ten list this year. With the pandemic, lockdown, and closure of cinemas, it seemed almost fruitless to talk about the best new releases. Ironically though, when I looked back at what I’ve watched, I was surprised to find that I’ve actually seen a greater number of films than previous years. Indeed, in more ways than one, the world of film has been kept alive for all of us in 2020. Streaming platforms stepped up VOD so audiences could check out the latest releases in the safety of their own homes. And several festivals moved online (LFF, FrightFest, Soho Horror) – events that were determined to go ahead in an alternative way that suited everyone. Sure, it doesn’t beat a trip to the cinema (and as soon as it’s safe to do so, I’ll be the first one sat in front of that big silver screen), but it’s comforting to see people still come together (albeit online) and show their love for all things filmic, even in these uncertain times.

Despite this, I’m sure there will be a few titles missing from my top ten that others will have included on theirs. Releases like Saint Maud, His House, Rocks and Mank are still on my to-watch list, and would probably have made the grade if I’d had the time to see them before the end of the year! And as usual, I’ve also stuck to UK release dates to make things easier for myself, so a couple of LFF films that I loved but which haven’t officially come out over here yet (Another Round to name just one) will almost certainly be on my list in 2021.

With all that in mind, here’s my top ten films of 2020. And thank you in advance for reading!:

10. I’m Thinking of Ending Things

I'm Thinking of Ending Things (2020)

At first glance, this story about a woman (Jessie Buckley) going on a road trip with her boyfriend (Jesse Plemons) to meet his family (Toni Collette and David Thewlis) sounds like the set-up of a million other Hollywood dramas. But in writer-director Charlie Kaufman’s hands, this tale turns into something altogether weirder. Then again, what else do you expect from the man who gave us Synecdoche, New York (2008) and Anomalisa (2015)? Based on a book by Iain Reid, and with musings on time, loss, and sense of self, Kaufman lets his eccentric imagination run wild with the plot, creating a truly bizarre and oddly humorous film that gradually becomes more unsettling as the young woman (Buckley in a perfect lead role) starts to question things around her. And that’s BEFORE the dance sequence. The result is very much like a waking nightmare – hard to turn away from, even though you want to.

9. Possessor

Possessor (2020)

After his brilliant feature debut (Antiviral (2012)), writer-director Brandon Cronenberg returns to the screen with this trippy, futuristic tale about a female assassin (Andrea Riseborough) who uses other people’s bodies to carry out hits. But with a crumbling family life and her mind already feeling adrift, her latest mission becomes fraught with problems, the host (Christopher Abbott) she’s taken over proving harder to control than she initially thought. A sci-fi rooted in realism, Cronenberg explores rich themes around identity and power while injecting his film with stunning, hypnotic visuals that put us in the assassin’s decaying point-of-view (the scene with the host procedure is particularly incredible). It’s a startling, ultra gory (with good reason) body horror featuring two striking performances from Riseborough and Abbott (who essentially plays dual roles). Here’s hoping Cronenberg doesn’t embark on another 8 year hiatus after this, as it’ll be very interesting to see what he does next.

8. Mangrove

Mangrove (2020)

To get not just one, but FIVE new Steve McQueen films this year was an absolute joy. Although each one is sublime in its own right, it’s Mangrove that stands out the most – a powerful, intricate look at the true story of The Mangrove Nine, who stood trial in 1970 after a protest against racial prejudice ended in a clash with police. With a script written by Alastair Siddons and McQueen himself, this tackles the issues of racism and police brutality in a stark, unforgiving light, yet never loses sight of the sense of community and hope that binds the group on trial together – something that helps them keep going when everything seems lost. Made all the more realistic by McQueen’s vivid direction and the wonderful portrayals from the cast (especially Shaun Parkes, Letitia Wright and Malachi Kirby), this is a truly beautiful film, and a vital one as well.

7. Dick Johnson Is Dead

Dick Johnson Is Dead (2020)

While documenting her father’s recent illness and looking back on his life, filmmaker Kirsten Johnson also delves into that tricky subject at the back of everyone’s mind: death. But how do you tackle that when it’s your own family member you’re talking about? Well, Johnson’s solution is to invent and film different scenarios in which her Dad (Dick Johnson of the title) might die, and get him to act in them. With the help of a few stunt doubles of course. That ingenious idea, coupled with the touching relationship between Kirsten and her father, results in this surprisingly funny, vibrant documentary – a film full of heart that doesn’t shy away from other difficult matters, mainly how challenging and painful a disease dementia can be. You’ll laugh, you’ll cry and you’ll have the biggest smile on your face as you listen to the (many) anecdotes about Dick’s brilliant life.

6. Waves

Waves (2019)

Although I saw this back in 2019 at LFF, it didn’t get a release in the UK until early this year, albeit a very limited one (a shame as this is a film worth the hype). Trey Edward Shults’ story about a young man (Kelvin Harrison Jr.) struggling with everyday pressures and his father’s (Sterling K. Brown) expectations is an effective, realistic film that packs several emotional gut-punches that you don’t see coming. Brought to life by Shults’ perfect script and the effortless performances from the whole cast (particularly Harrison Jr. and Taylor Russell) this is a captivating tale to watch unfold, made all the more mesmerising by Shults’ exhilarating direction and the pulsing soundtrack (as well as an incredible original score by Trent Reznor and Atticus Ross). As such, Waves is the sort of film that immediately grabs you and doesn’t let go until its final frames, pulling you along on a breathtaking ride throughout. Seek it out if you can – you won’t regret it.

(Read my Digital Fix review of Waves here).

5. The Personal History of David Copperfield

The Personal History of David Copperfield (2019)

This take on the Charles Dickens’ classic succeeds in being both faithful to the source material and wildly inventive – something that lifts Armando Iannucci’s film above other adaptations of Dickens’ work. Following the titular hero (Dev Patel) as he navigates the pitfalls of Victorian England and tries to forge a name for himself, this is a funny yet also surprisingly poignant portrayal, especially when the threat of poverty begins to loom ever closer to Copperfield and those around him. The script by Simon Blackwell and Iannucci is superb, that delicate balance between comedy and tragedy held perfectly throughout, while Iannucci’s imaginative direction plays with visual storytelling techniques, giving this a wonderfully surreal edge. The cast are all clearly having the time of their lives in this too, the hilarious highlights being Tilda Swinton as a donkey-hating great-aunt and Hugh Laurie as a man obsessed with the beheading of Charles the Second. But it is Dev Patel who is the standout, his brilliant turn as Copperfield adding pathos and charm to the story.

4. The Invisible Man

The Invisible Man (2020)

This will always have a significant place for me on this list, as it was the last film I saw in a cinema before lockdown. But beyond that, The Invisible Man is simply an exceptional, terrifying horror that keeps you guessing right until the end credits. Taking the original tale and giving it a contemporary twist, Leigh Whannell creates a film full of tension and dread, as one woman (Elisabeth Moss) tries to escape the clutches of an ex (Oliver Jackson-Cohen) who may (or may not) be able to turn invisible. It is entirely to Whannell’s credit that this slightly ridiculous plot is completely believable, his excellent script building on that awful sense of paranoia, while his expert direction uses empty spaces to queasy, unsettling effect, hinting at something unseen watching her (and us). With a powerhouse performance from Moss and several WTF moments that will make you leap out of your seat, this is one of the best thrillers of recent years and an absolute must-watch.

3. Portrait of a Lady on Fire

Portrait of a Lady on Fire (2019)

Set in the late 18th century on the remote French coast, writer-director Céline Sciamma explores the relationship between a painter (Noémie Merlant) and her female subject (Adèle Haenel) in this beautiful, moving drama. As the portrait slowly comes together, the women find themselves unexpectedly drawn to each other, Sciamma heightening the tension between the pair to great effect, all pointed glances and lingering touches made even more evocative by Merlant and Haenel’s electrifying portrayals. It’s hypnotising to watch unfold, Sciamma’s dreamy direction turning both the landscapes and interiors into deliciously inviting spaces, these gorgeous visuals perfectly matched by the haunting soundtrack (the highlight of which is the song on the beach). As such, this is a superbly crafted, poetic film that stays in your mind for a long time after seeing it.

2. Parasite

Parasite (2019)

Funny, playful yet wildly intelligent, Bong Joon-ho’s film really did deserve all of those Oscars it received at the start of 2020. Exploring themes of capitalism, social constructs and class inequality, Bong’s story about a working class family charming their way into a wealthy household is the kind of film that requires repeat viewings to catch all the subtleties you missed. However, there’s nothing quite like seeing it for the first time and being blindsided by those amazing twists and turns. Featuring excellent performances from the cast (especially Song Kang-Ho as the put-upon father and Cho Yeo-jeong as the naïve mother who invites the family into her life) Bong’s multi-layered tale is hilarious, but also startlingly sad at times, often when you least expect it. An outstanding, gripping film that is full of unforgettable moments.

1. Relic

Relic (2020)

Although horror might not be everyone’s favourite genre, you’d be doing yourself a disservice if you miss this one from writer-director Natalie Erika James. With an exquisite script by James and co-writer Christian White, their story follows an elderly woman (Robyn Nevin) and her family (Emily Mortimer and Bella Heathcote) as they struggle to cope with the debilitating effects of dementia – the isolation, the claustrophobia. And, of course, the fear. James uses lingering shots to eke out the tension and build on the eeriness in the creepy family home, shadowy rooms seeming to hide a wealth of forgotten memories, and a few other terrifying things. However, while the scares are plentiful, it’s the emotional scenes that give the film its real impact, the wonderfully poignant performances from Nevin, Mortimer and Heathcote heightening these moments and turning it into something truly compelling. With the narrative unravelling at a delicate pace, this is a chilling, atmospheric, and utterly devastating film that gets under your skin. Indeed, as someone who has a dementia sufferer in the family, Relic hit me hard. But it’s this honest, touching portrayal of such an insidious disease that makes this so effective, James taking care to show the price many families pay because of it, as well as how impossible it is to escape from (in more ways than one).

(Read my review of Relic here).

(Films that just missed out on the top ten: Uncut Gems, Queen & Slim, The Vast of Night, The Truth, Red, White and Blue, Bacurau, Swallow, Shirley, Hamilton).

And that’s it for another top ten films list. Thank you for taking the time to read it! And stay safe everyone. Here’s hoping that 2021 will be a much brighter year for all of us.

(As always, post a comment below if there’s anything you think I left out of my top ten, or if there’s any films I’ve included that also make your 2020 list!).

square-eyed-geek’s Top Ten Films of 2018

I’ve found it increasingly difficult over the years to condense my favourite films down to a top ten. But 2018 has been the hardest yet. There’s been so many gems this time around, despite the fact that I’ve definitely missed out on a few that will be amongst other people’s lists (The Phantom Thread, Halloween, First Reformed and Sorry to Bother You to name just a couple). Still, I’ve managed to compile a list of what I felt were the best of the best in 2018. As usual only one rule applies at square-eyed-geek: the films have to be released in the UK in 2018 (hence a few I’m missing out, but which I’m sure will make the list next year!). So with those brief technicalities out of the way, read on for my top ten films of 2018!:

10. Climax

Climax

Tamer than other Gaspar Noé films, this is still a shocking piece of cinema. The story might be simple (a dance troupe’s celebrations slowly descend into chaos after someone spikes their drinks) yet it’s undeniably effective, Noé’s trippy visuals and acrobatic camerawork making this a tale you experience alongside the characters, rather than sit back and watch. With a thumping soundtrack and superb dance numbers, Climax is a beautiful but hellish film that you’ll want to see more than once…if you can stomach it.

9. Lady Bird

Lady Bird

Yes, some people will argue this is a 2017 release. But for us UK folks, it wasn’t until this year that we finally had the chance to see it. And it was more than worth the wait. Greta Gerwig’s film about a girl who’s fed up with small-town life is about as personal as it can get, Gerwig injecting her story with her own experiences of living in Sacramento, California. However this is very much Lady Bird’s (Saoirse Ronan) tale, her struggle to find her own identity and path in life fascinating and stunningly realistic, as well as breathtakingly relatable. Funny and deeply moving, especially during later scenes between Lady Bird and her mother (the amazing Laurie Metcalf), Gerwig’s film is beautifully constructed and filled with so much heart that it’s easy to fall in love with it.

8. Upgrade

Upgrade

It’s a shame that Leigh Whannell’s film didn’t get a bigger release, as this was one of the smartest sci-fi thrillers to come out this year…or maybe even longer. Set in the near future, a man (Logan Marshall-Green) is given a tech implant that can help him do all sorts of things, including go on a much-needed revenge mission. What could go wrong? Violent, action-packed and often darkly funny, Whannell captures this futurescape in all its brilliant yet grubby glory, while the astonishing camerawork gives the fight sequences a fresh and fierce energy that will make your jaw drop. The twists and turns that Whannell’s story offers keep this gripping and will have you guessing right up until the end, but it is Logan Marshall-Green’s excellent performance that emphasises the true horror of the tale, leaving us with an ending that leaves the future looking terribly bleak indeed.

7. Revenge

Revenge

Another vengeance-fuelled film, but this time with a whole new gloriously fresh perspective. While the words ‘rape revenge film’ often carry with it certain exploitative expectations, especially when it comes to female characters, writer-director Coralie Fargeat here plays around with the genre’s usual tropes, turning the male gaze (and our own viewpoint) back in on itself and slowly (and gorily) destroying it. Matilda Lutz is superb as victim turned survivor, her character hell-bent on getting revenge on the men who tried to kill her, the violent and bloody journey Fargeat paints for her brutal yet completely compelling. With buckets of tension throughout and an ending that had me almost jumping up and down in my seat, Coralie Fargeat is certainly a name to look out for in the future. (Check out The Digital Fix feature I wrote about Revenge here).

6. Bodied

Bodied

Like Upgrade, it’s a huge disappointment that this didn’t have a big cinematic release (and even more so that the only way to currently see it is through YouTube Premium), as Joseph Kahn’s film really is best watched with the biggest and loudest audience possible. A story about battle rappers doesn’t sound like much fun, but where Bodied soars is in its clever and hilarious commentary on everything from race, cultural appropriation, gender, and freedom of speech. Centring around a guy (Calum Worthy) who suddenly discovers he has a gift for battle rapping, and featuring a whole host of real battle rappers (you’ll want to look up their material immediately after seeing this – trust me), Kahn’s film instantly grabs you and flies by in a sea of incredible rap battle scenes, funny visuals, and moments that will make you gasp and yell out at the screen. I saw it at FrightFest and it was absolutely one of the best things I’ve experienced with a crowd this year. Hopefully when it’s released on DVD and Blu-ray over here it’ll attract a lot more attention – which is without a doubt what this exceptional film deserves.

5. Summer 1993

Summer 1993

A child’s eye view is brought to stunning life in Carla Simón’s powerful and poignant film, the writer-director drawing us into the world as Frida (Laia Artigas) sees it. A biographical tale about grief and family, 6-year-old Frida finds herself suddenly having to adjust to monumental changes in her life when she goes to stay with her Aunt (Bruna Cusí) and Uncle (David Verdaguer) – a change that Frida struggles to cope with alongside the emotional loss that has led her to this point. Simón’s subtle direction gives Summer 1993 the feeling of watching a home video come alive, especially when she simply lets her camera take in the children (Artigas and Paula Robles) at play – a method that lends this a striking realism that is felt throughout. The natural performances Simón ably coaxes from the children in other moments compliments this feeling, while those playing the adults (the standouts are Cusí and Verdaguer) are all superb, each of them expertly adding to the emotional complexity that always bubbles just below the surface. A beautiful film filled with nostalgia, and one guaranteed to bring a tear to your eye, particularly with its heartbreaking conclusion. (Check out my LFF review of Summer 1993 here).

4. Custody

Custody

This French drama begins unassumingly enough, an extended courtroom scene slowly pulling us into the story of a custody battle between two separated parents (Léa Drucker and Denis Ménochet). But what’s to come is even more horrifying than this first appears, with so many moments that will leave your heart in your mouth. Writer-director Xavier Legrand gradually unravels his captivating tale, yet often without ever giving us the full picture, preferring instead to let us draw our own conclusions. It’s an effective method that brings us into this family’s world, while the performances from the whole cast lend it a palpable realism (especially Mathilde Auneveux and Thomas Gioria as the children) as well as a nail-biting tension that is increasingly felt throughout. However even that can’t prepare you for one of the most unsettling and heart-pounding endings you’ll ever see – a scene that will stick in your mind for a long, long time. (Read my Digital Fix review of Custody here).

3. Shoplifters

Shoplifters

Hirokazu Kore-eda’s films often deal with families of all shapes and sizes, his stories regularly questioning just what exactly defines a ‘family’ unit. And with Shoplifters, Kore-eda has crafted his most intriguing and bold answer to this question so far. The family at the centre of this particular story are already struggling when we meet them, the low wages they receive forcing them to steal in order to keep food on their table. But when they come across a little girl (Miyu Sasaki) who’s been left out in the cold, they know that the only solution is to take her in and treat her as their own, even if this means more mouths to feed. From this simple premise, Kore-eda has crafted an emotionally complex tale that he brings to powerful life, the writer-director gradually allowing us to learn more about the family, while allowing us to make up our own minds about their dubious moral choices. It grips us throughout, the performances from the excellent cast pulling us in further (Lily Franky and Sakura Andô are particularly great, while the late Kirin Kiki will bring a tear to your eye several times). As it hurtles towards an ending that feels increasingly inevitable, Kore-eda pulls at our heartstrings without ever being exploitative, resulting in several final moments that are devastating, but which he leaves up to us to interpret – a brave approach, and one that makes this his most fascinating film yet.

2. Hereditary

Hereditary

I have rarely had a cinematic experience like the one I had when I went to see Hereditary for the first time. It haunted and mesmerised me in a way few films ever have, with certain scenes and images that I will never, ever be able to erase from my mind. The combination of drama and horror is what makes Ari Aster’s film so powerful, the story of a family dealing with grief potent and brilliantly relatable. Yet for Annie (Toni Collette who is astounding as always) coping with the death of her mother also begins to throw up all sorts of questions, particularly about how she has raised her own children (Alex Wolff and Milly Shapiro). And slowly but surely, the true chilling nature of Aster’s film creeps in, the writer-director beginning to reveal to us all sorts of terrifying moments – moments that are all the more horrifying when Aster avoids jump scares and instead reveals to us something that our eyes gradually adjust to. Some balked at the insane ending, but for me it works with what has come before it, Aster embracing the madness that surrounds the family as they eventually succumb to an outcome that was always on the cards for them. With scenes that literally gave me nightmares (which is an achievement in itself as I watch a LOT of horror films), incredible performances, and an intricate and surprisingly poignant narrative about loss, Hereditary is without a doubt one of the best horrors of the year.

1. You Were Never Really Here

You Were Never Really Here

Lynne Ramsay’s brutal revenge drama pulls no punches, Ramsay immersing us in the grimy and sordid world that Joe (Joaquin Phoenix) inhabits. His muscle-for-hire is tasked with finding the missing daughter of a politician, a job that leads to all sorts of skeletons coming out of closets, including his own. Ramsay’s expert direction is electrifying, the tension palpable and the pace frantic, while the violent outbursts she peppers throughout are sickening and shockingly raw. However she also takes the time to step back and allow the quieter scenes of the narrative to take over – moments that are startlingly hypnotic and which pull us further into the life and crumbling mental state of the world-weary Joe. Joaquin Phoenix’s performance is the very definition of the word ‘powerhouse’, his bulky frame and silent intensity terrifying but often hinting at a surprising gentleness hidden beneath his gruff surface. Throw into the mix entrancing imagery and a piercing soundtrack by Jonny Greenwood, and You Were Never Really Here is one of the most effective and nightmarish thrillers of 2018 – a dark, visceral yet beautifully captivating journey that disturbs well beyond its final frames. It isn’t hard to see why this flawless film is the number one in my top ten. (Read my original review of Ramsay’s film here).

(Films that just missed out on the top ten: Roma, Blindspotting, The Square, Widows, Apostasy, Beast, Happy New Year Colin Burstead, The Shape of Water, I Tonya, Avengers: Infinity War, Cam, Tully, Searching, Three Billboards Outside Ebbing Missouri, Black Panther, Annihilation, Suspiria, Apostle).

And with that, 2018 winds to a close – another year that has been filled with so many superb films. 2019 seems like it might even surpass it, with The Favourite, If Beale Street Could Talk, Captain Marvel, Us and Once Upon a Time in Hollywood already looking like excellent highlights. So Happy New Year to you all! Hope you have a great one, and that 2019 has lots of fab things on the horizon for you.

(And as always, if there’s anything you think should have been in my top ten let me know in the comments below!).

Hitchcock – Anthony Hopkins brings a filmic genius to life

Alfred Hitchcock – master of suspense – didn’t always have it easy. That moniker meant that people expected a certain sort of film from him after hits such as Strangers on a Train and North by Northwest. Hitch became bored and decided to do something altogether different for his next one though – an adaptation of the book ‘Psycho’ by Robert Bloch, a book based on the serial killer Ed Gein. Hitchcock, directed by Sacha Gervasi, tells the story of Hitch’s struggle to get Psycho to the screen – his troubles with the studio, the problem of financing it, as well as the strain it puts on his already fraught marriage to his wife Alma.

Anthony Hopkins beings Hitchcock to life in all his big-jowled glory. Under a huge layer of prosthetics and wearing a lot of padding, he is almost the reincarnation of the director. And not just in looks. Hopkin’s speech and mannerisms perfectly emulate the Hitchcock we have come to know from various TV appearances and interviews. His performance also adds a little something else to the usual view many have of Hitch being a woman-objectifying, prank-playing, mysterious man. Hopkins does display this, but also shows a more sensitive side to the director, one who becomes obsessed with making what quickly becomes his passion project while everyone and everything seems to be against him. Writer John J. McLaughlin and director Sacha Gervasi’s decision to present this different side to Hitch is a breath of fresh air, and one that humanises the brash, iconic man rather than turning him into a parody of the director.

The film also shows that there was an unsung heroine in the Hitchcock movie making machine. His wife, Alma, is here given the recognition she deserves as someone who not only stood by him during these difficult times, but who also was a talented writer and editor who often gave Hitch’s films a final check for any flaws that hadn’t been spotted by others. Helen Mirren gives an exceptional performance as her and again brings a more emotional core to this character and the overall film itself, showing Alma as a put-upon but loyal figure who was forever in the shadow of the director.

The actors who make up Hitch’s Psycho cast have similarly been expertly cast here. Scarlett Johansson plays Janet Leigh and perfectly reflects her wide-eyed mannerisms and girlish charm, and is also excellent in certain infamous scenes that require a more frantic, terrified performance. James D’Arcy as Anthony Perkins is weirdly the spitting image of him. Not just this but he too portrays the actor’s trademark quiet, nervy disposition brilliantly. Toni Collette as Hitch’s production assistant and Michael Stuhlbarg as his agent are also great as the people in Hitch’s life who run things behind the scenes for him. It is Jessica Biel as Vera Miles though who is wholly unforgettable in her role. Although to be fair, she doesn’t have much to do in the story other than act as a reminder that Hitchcock didn’t always treat his leading ladies so well…

However, with all these other superb performances at play within Hitchcock, there is a downside – something that doesn’t sit right with the film.  McLaughlin’s script is good, but one of the problems with it seems to be that there is no sense of jeopardy in it. We all know that Hitchcock did manage to film Psycho and that it is one of the most successful films he ever made. So to counter this McLaughlin focuses more on the tense relationship between Alma and Hitch – his obsessions with his leading ladies bringing obvious annoyance to Alma. And when another writer, Whitfield Cook (Danny Huston), wants Alma to help him with his own screenplay, Hitchcock is in for a taste of his own medicine. But this relationship angle to the film doesn’t make it compelling or entertaining enough. The back and forth between Hitch and Alma (although performed to perfection), actually becomes tiresome after a while.

It is also telling that there is an incredibly annoying plot device used throughout the film that attempts to bring a bit of excitement to proceedings, which is the decision to have Ed Gein (Michael Wincott) pop up and talk to Hitchcock about his problems while making Psycho. Although it acts as a way to show Hitch’s psyche at the time, instead it seems like a cheap way to keep the story moving when nothing much is going on.

Another problem that comes from focusing on Alma and Hitch’s relationship is that it sometimes feels like the whole story behind the Psycho shoot is breezed over. Self-financing the film means Hitch has to mortgage the house, but no real problems seem to come from this (other than having to cut back on the gardener coming by every day – shudder). The much-documented censorship issue which was a huge and ground-breaking moment in cinema history also feels far too quickly dealt with. Hitch wasn’t even at first permitted to show a flushing toilet, let alone a naked woman for the shower scene. Yet the censorship debate here isn’t discussed enough, playing out in only two minor scenes. Indeed the build-up to the final screening, including Hitchcock’s strict specifications of how the film should be screened (no late admissions and warnings to viewers and staff about giving away the ending) even feels rushed. This makes for a hugely unsatisfying, not to mention sudden, ending that will leave viewers disappointed after watching this.

Overall, Hitchcock is one of those films that you watch just to see the expert performances of those involved who bring screen icons to life.  But the story isn’t interesting enough to warrant repeat viewings, or even a satisfying first viewing for that matter. This is a film that could have soared with an expert retelling of Hitch’s struggle for creative freedom, when instead it disappears down the plughole.