Word: hitchcocked
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...beta in March, is a gorgeous piece of interface design laid over a technically very sweet video player. The offerings are eclectic but compelling: a handful of current shows (The Office, The Simpsons, 30 Rock), a larger handful of "classic"--i.e., old and canceled--shows (Adam-12? Alfred Hitchcock Presents? Airwolf?) and a random, sometimes startling collection of movies (Point Break! The Big Lebowski! End of Days!). No wonder Hulu has reportedly already sold its entire advertising inventory. It's depressing to live in a world in which huge, faceless corporations can do something right...
...matters more than what they do separately; if one person punctures the bubble, the whole enterprise can deflate--and in R.E.M.'s case, it did. As three consecutive sonic duds got filed under R, Stipe started producing movies, Buck moonlighted with other bands (and slagged his own in Robyn Hitchcock: Sex, Food, Death ... and Insects, a documentary about the singer), while Mills claims he contemplated quitting a few hundred times...
Jorma Elo’s “In On Blue,” on the other hand, was remarkable. Even on a titular level, it challenged the audience. The music was by Bernard Hermann, a composer who created numerous scores for Alfred Hitchcock films, and the lighting and costumes were overwhelmingly blue. The dancers jerked their arms and legs robotically. One ballerina even twitched perceptibly as she was laid on the stage floor...
...story, from John Bingham's novel Five Roundabouts to Heaven, was first dramatized in 1962 for an Alfred Hitchcock Hour called "The Tender Poisoner," with Dan Dailey as the husband, Jan Sterling as the wife and Howard Duff as the friend. Here, in the script that director Ira Sachs has written with Oren Moverman, the tale in set in the late '40s - prime time for film noir, whose shadowy contours and sleek period architecture the Sachs movie mimes. Of late, noir has often been pretzeled into post-modernism: by Joel and Ethan Coen in The Man Who Wasn't There...
...indignity as his work on Raging Bull, The Last Temptation of Christ, Goodfellas, Gangs of New York and The Aviator lost out to that of other, lesser directors. (He finally copped the Oscar last year, at 64, for The Departed.) And yet they all have the edge on Hitchcock and Hawks, who never won a competitive Oscar...