Tag Archives: Alfred Hitchcock

Horror, No Spoiler Reviews

MONSTER – THE ED GEIN STORY (2025): The Things I Liked…

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My appreciation of Charlie Hunnam’s acting talents is the reason I decided to watch Monster – The Ed Gein Story. I watched it even though I’ve avoided the first two instalments of the anthology series, Monster – The Jeffrey Dahmer Story (2022) and Monsters – The Lyle and Erik Menendez Story (2024).

I ‘endured’ everything, albeit through my own fingers sometimes, including the scenes that were featured for shock value, because it’s Hunnam. Additionally, as someone who’s lived long enough to be aware of the darker facets of the human experience, there wasn’t plenty that shocked me.

Monster - The Ed Gein Story (2025), Tom Hollanderm Netflix
Monster – The Ed Gein Story (2025), Tom Hollanderm Netflix

The fact that Monster – The Ed Gein Story is a dramatisation rather than a documentary is part of the reason I was able to sit through all of it. Knowing that Hunnam was doing his best acting helped give me that distance from the reality of Gein’s depicted crimes. I say ‘depicted crimes’ because, as you can imagine, a number of the crimes/scenes are based on speculation/pure fabrication, for dramatic effect.

As for the matter of whether Monster – The Ed Gein Story is actually good, the acting is fantastic, all around. Hunnam is great, of course, and another highlight is Tom Hollander as Alfred Hitchcock.

What surprised me about the third instalment of the Monsters anthology series is that the show didn’t just focus on Gein’s tragic story over the years. Since Gein is known to have inspired many horror movies, including Hitchcock’s Psycho (1960), The Texas Chainsaw Massacre (1974), and more, the show dips in and out of telling Gein’s story and showing us scenes of how the aforementioned classic horror films came to exist.

Monster - The Ed Gein Story (2025), Charlie Hunnam, Netflix
Monster – The Ed Gein Story (2025), Charlie Hunnam, Netflix

Admittedly, all the switching from Gein’s life to showing his impact on American culture results in a somewhat disjointed experience. Nevertheless, because I’m a movie fanatic and I’ve seen almost all the films featured, plus I happen to be a big fan of Hitchcock’s Psycho, I welcomed these diversions. watching them meant I wasn’t having to endure other harrowing scenes from Gein’s life, which, in the end, made the show a little easier to sit through.

It probably won’t surprise you to learn that I found the latter part of Monster – The Ed Gein Story very moving. Particularly that all-important conversation with the psychiatrist. My eyes certainly were not dry. No, sir/lady.

I’m not going to dare to tell you to watch this, unless you are very, VERY curious, of course.

Happy Film Loving,

G

Source: JustWatch
Mystery, Romance, Thriller

VERTIGO (1958): The Things I Loved…

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Alfred Hitchcock’s Vertigo is a wonderfully well-made mystery/thriller/romance film. It’s perhaps the best Hitchcock movie I’ve seen so far, as part of my goal to watch as many of his best-rated films as possible before 2024 ends. 

Having now seen three, Vertigo is the one about which I have nothing remotely negative to say. No dated special effects that end up detracting from my enjoyment. No lines of dialogue that annoy me. And, to my surprise, zero pacing issues to speak of.

Vertigo (1958), Kim Novak, James Stewart, Paramount Pictures
Vertigo (1958), Kim Novak, James Stewart, Paramount Pictures

Each shot of Vertigo is so visually rich with plenty to absorb that, combined with the engaging story, acting and dialogue, at no point did I want things to progress at a quicker pace. Instead, I gladly took in all this clever movie had to offer. A story about a detective who’s retired due to acrophobia (an intense fear of heights), until an older friend offers him a new investigative position. 

I truly enjoyed everything about Vertigo, including the ‘tour’ of 1950s San Francisco,  the complex story, the music and the cinematography. I also loved the costume and set design – all the things that Hitchcock is known to execute beautifully.

With all the above said, the next time you need something different from what modern movies offer or when you crave the charm of a different time, I implore you to give yourself the gift of Vertigo.

Happy Film Loving,

G

Source: JustWatch
Horror, Mystery, No Spoiler Reviews

PSYCHO (1960): The Things I Liked…

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Alfred Hitchcock’s Psycho is one of the first scary movies I watched at seventeen, after quitting horror at age twelve because I watched The Omen (1976) and couldn’t sleep for a week due to nightmares.

I had concrete plans never to watch a scary movie again, but my media studies course included a slasher horror movie module, and I had no plans to fail. The only comfort was that all the films we had to see for the course were watched in the daytime during class, meaning there was a good chance I’d be able to sleep peacefully, at bedtime. 

Psycho (1960), Anthony Perkins, Paramount Pictures
Psycho (1960), Anthony Perkins, Paramount Pictures

Fast forward to the present day, before rewatching Psycho, a movie known for starting the slasher horror movie sub-genre, I only remembered two things about Hitchcock’s classic. Firstly, Norman Bates has an unhealthy obsession with his mother. Second, Janet Leigh’s character Marion Crane dies an iconic death that makes showering in a hotel alone a far less peaceful experience than it once was, especially for those with overactive imaginations. 

I’d completely forgotten the events that led to Marion ending up at the Bates Motel, a place run by a troubled man and his overbearing mother. No wonder the theme of ‘punishing badly behaved young women’ is a thing in slasher horror films. 

Psycho (1960), Janet Leigh, Paramount Pictures
Psycho (1960), Janet Leigh, Paramount Pictures

Psycho is very much a classic for a reason. It’s well-written, brilliantly paced and very well-shot and acted. The suspenseful moments were intense, especially considering how unsuspecting the victims were. Composer Bernard Herrmann’s musical score is another noteworthy highlight. 

The other bit of good news for me is that Psycho did not lead to nightmares. Additionally, Scream (1996) and A Nightmare on Elm Street (1984), two other slasher films on my course watch list, proved to be more fun, clever and funny than nightmare-inducing scary. 

The only unfortunate thing Psycho suffers from is the brief moment of dated special effects at the end.

Lastly…

‘A boy’s best friend is his mother?’ _Norman Bates

Not that mothers and sons can’t be best friends in a perfectly healthy way. But, poor Norman. Poor murderous Norman Bates.

Watch Psycho because it’s masterful and clever.

Happy Film Loving,

G

Source: JustWatch
Mystery, No Spoiler Reviews, Thriller

REAR WINDOW (1954): The Things I Liked…

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Inspired by the trailer for the new Alfred Hitchcock documentary, My Name Is Alfred Hitchcock (2022), I’ve decided to watch as many of Hitchcock’s best-rated films as possible. 

Having only seen two/three, years earlier, I decided to start with Rear Window, the one I remember most fondly. 

Starring James Stewart, Grace Kelly, Wendell Corey and Thelma Ritter; Stewart plays a bored photographer with a broken leg; one who passes his time by watching his neighbours through his back window. 

What I remembered immediately about Rear Window before watching it this second time was Stewart’s character’s broken leg and poor Miss Lonely Hearts.

Rear Window (1954), James Stewart, Paramount Pictures
Rear Window (1954), James Stewart, Paramount Pictures

Like much of Hitchcock’s best work, Rear Window is a film with all the elements that make a movie watchable. The dialogue and story are engaging. The characters are charismatic. The lighting, sound, and set design are notable. Still, even with all this, I did find myself reaching for my phone during moments that could have commanded my attention more.

The things that stand out most post-second viewing include how breathtaking Grace Kelly was; followed by the masterful suspense, thanks to the sound/set design, lighting, etc. Especially in the final confrontation scene

Rear Window (1954), James Stewart, Grace Kelly, Paramount Pictures
Rear Window (1954), James Stewart, Grace Kelly, Paramount Pictures

Where complaints about Rear Window go, I have two relatively small issues. The first is the fact that I had to reach for my phone at all. The second is the moment or two when Stewart’s character couldn’t hear that he sounded crazy and unreasonable, which, subsequently, made me annoyed with him and the dialogue. In my mind, at that moment, he should have heard that he sounded ridiculous and needed more evidence. Then I remember that in moments of high stress, few people see clearly – and often, critical thinking flies right out the window. As such, I may have forgiven him. Possibly. In which case, I only have one complaint?

If you too are inspired to have your Hitchcock Era, even considering my small-ish complaints, I suspect you won’t regret including Rear Window on your watch list. I say, go forth and enjoy the work of the one who helped inspire your current favourite directors. 

Happy Film Loving, 

G

Source: JustWatch
Documentary

78/52 (2017): New Trailer For Documentary About Alfred Hitchcock’s Psycho & That Infamous Shower Scene…

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78:52 (2017)
78:52 (2017)

Directed by Alexandre O. Philippe, 78/52 is a documentary about the famous shower scene in Alfred Hitchcock’s Psycho (1960), which contains the screen murder that profoundly changed the course of world cinema. 

Alan Barnette, Justin Benson, Peter Bogdanovich and Jamie Leigh Curtis are among those featured.

I’m a Hitchcock fan, and my favourite of his movies that I’ve seen are Rear Window (1954), and Psycho isn’t far behind.

Watching 78/52 should be interesting for more reasons than the fact that it’ll remind me of having seen and enjoyed Psycho, while in a classroom years earlier.

78/52 Release Dates: October 13th, 2017 (US)…

Happy Film Loving,

G

Source: JustWatch