Word: hitchcocked
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...happiest cases becomes unique. In recent American films, though, the process has been reversed. Hot young directors like Steven Spielberg and John Landis have exercised their talent on elaborate homages to the Three Stooges. Brian De Palma has taken up permanent residence as a grinning caretaker of the Hitchcock reliquary. Paul Mazursky has stared into his navel and found François Truffaut. And Woody Allen, whose films find their strength in reflections on his life and the lives of the beautiful battered people around him, has retreated into an anguished remake of 8½. In Stardust Memories...
...hottest show out of the West, competing with Disneyland and the tinsel of Hollywood. Visitors are flocking to it by the thousands. For sheer suspense it rivals even Hitchcock, continually hinting of ominous new surprises. The sulfurous center of all this attention is Mount St. Helens, site of the largest volcanic explosion in the U.S. in more than 60 years...
Everything's in the open now. We see it all from the killer's point of view and we seem to be enjoying it, and to be dissociating ourselves from what it means. Responsible film artists have been warning us for years: Hitchcock told us, over and over, that we were voyeurs and sadists; Kubrick in Clockwork Orange, Malick in Badlands, Coppola in Apocalypse Now made epics of our dissociation; soldiers in Vietnam said it didn't feel like being there, it felt like being in a war movie; and Roger Rosenblatt writes in The New Republic that...
Everything's in the open now. We see it all from the killer's point of view and we seem to be enjoying it, and to be dissociating ourselves from what it means. Responsible film artists have been warning us for years: Hitchcock told us, over and over, that we were voyeurs and sadists; Kubrick in Clockwork Orange, Malick in Badlands, Coppola in Apocalypse Now made epics of our dissociation; soldiers in Vietnam said it didn't feel like being there, it felt like being in a war movie; and Roger Rosenblatt writes in The New Republic that...
Everything's in the open now. We see it all from the killer's point of view and we seem to be enjoying it, and to be dissociating ourselves from what it means. Responsible film artists have been warning us for years: Hitchcock told us, over and over, that we were voyeurs and sadists; Kubrick in Clockwork Orange, Malick in Badlands, Coppola in Apocalypse Now made epics of our dissociation; soldiers in Vietnam said it didn't feel like being there, it felt like being in a war movie; and Roger Rosenblatt writes in The New Republic that...