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Good evening. Our film tonight is about a man obsessed with murder. It is a tale of violence, of lies and deceit, of envy and greed. It is, naturally, a love story. In the year 1960, the film Psycho burst onto theatre screens, beginning one of the greatest decades of change in American cinema with shrieking violins and a blood-curdling scream. The man behind the movie, director extraordinaire Alfred Hitchcock, was as much a public figure as his leading ladies and men. He managed to thrust the unsuspecting (and unprepared) public into violence and perversion that was (at the time) beyond the pale, unlike anything they'd ever seen before in a film. And they came out loving it. Wanting more. So who was the man who pulled it off? What secrets lay inside the unique mind of one of the greatest directors of all time? "Let's get the director of Anvil! The Story of Anvil to answer that question!" said...someone, apparently. That's not a knock, mind. Director Sacha Gervasi acquits himself well in this behind-the-scenes story of the making of one of the greatest films of all time. The thing is...it's not, really. Hitchcock might more accurately be titled Hitchcocks, pluralizing the name for the inclusion of one Alma Reville, Hitchcock's wife and creative partner. With the making of Psycho a backdrop, Gervasi chronicles the painful, often tumultuous, but ultimately rewarding relationship between the two British emigrants. Hitchcock was a notoriously difficult chap with which to work, his sheer talent manifesting itself in exacting, often confusingly obtuse direction of his creative staff. Alma's talent matched the great director's, and she was his lifelong editor, script doctor, confidante, and advisor. Here, the lead roles are played by Sir Anthony Hopkins and Dame Helen Mirren, with the cast of Psycho filled out by Scarlett Johansson (leading lady Janet Leigh), James D'Arcy (mama's boy Anthony Perkins), and Jessica Biel (spurned starlet Vera Miles). The actors all apply themselves whole-heartedly, particularly two: Johansson gives a fantastic performance capturing Janet Leigh's class, warmth, and intelligence, while the other supporting standout, James D'Arcy, perfectly embodies the bundle of nervous energy that was Anthony Perkins. Danny Huston, as a screenwriter and potential wooer of the neglected Alma, turns in the film's only bad performance; he seems to be trying to play to the cheap seats, as though he just wandered in from a film actually made in 1960. It's a performance that clashes mightily with the naturalistic acting on display everywhere else in the film, and doesn't work at all. But this is Hopkins' and Mirren's show, and they make their roles sing, obviously enjoying playing two of England's favored children. Hopkins is slathered with gobs of makeup and rolls of fat to approximate Hitchcock's unique physique, and while his voice is different, his mimicry of Hitch's signature elocution (combined with the way he embodies the movement of a large man) make him a dead ringer, superficially. But it's his performance as a man, not a historical figure, that sells it. His Hitchcock retains the original's mordant humor and droll aloofness, but infuses a real human being who could easily be mistaken for a character with genuine pathos and fragility. Mirren seems to relish her role as the wind beneath Hitchcock's wings, exuding strength from her eyes as she steels up for any fight that comes, be it from meddling executives or her husband. Their electric interactions are the pulse that keeps Hitchcock alive and vibrant. The film itself is largely well-crafted, though the subplot with Whitfield Cook (Houston) attempting to court Alma doesn't seem necessary or even handled very well. There's also an oddity to scenes where Hitchcock is haunted by Ed Gein (Michael Wincott), the murderer used by Robert Bloch as inspiration for the original novel Psycho, but this worked as a strange sort of dramatization of the creative process; anyone who's lived with a work in their head knows that the characters in it are rarely silent. That's largely indicative of this confection of a film as a whole: it's messy and a little odd, but immensely enjoyable. It trundles along at its own pace, in a structured-but-not-really sort of way. Many of the technicals are handsomely mounted (particularly the cinematography by The Social Network's Jeff Cronenweth, and the art and set direction), though it's not flawless. The editing in particular is weak, and when you're making a film about two of the greatest frame-cutters of all time, you'd be best served to bring your A game. But by the time the credits roll, you'll be glad to have spent time with these folks.
Follow Robbie Williams' journey from childhood, to being the youngest member of chart-topping boyband Take That, through to his unparalleled achievements as a record-breaking solo artist – all the while confronting the challenges that stratospheric fame and success can bring.
Shirley Muldowney is determined to be a top-fuel drag racer, although no woman has ever raced them before. Despite the high risks of this kind of racing and the burden it places on her family life, she perseveres in her dream.
Best friends set out to conquer Hollywood but are ambushed when one of them is diagnosed with bipolar disorder.
Lola Montes, previously a great adventuress, is reduced to being the attraction of a circus after having been the lover of various important men.
A husband going through a divorce learns his ex-wife is pushing for full custody of their daughter. How far will he go to keep his family together?
Dr. Henry Jekyll is a well-regarded physician whose evenings are spent researching a rare and sacred Amazonian flower so potent it's said to literally separate the soul, giving life to man's Dark Self. The obsessive experiments to isolate its psychotropic properties happen to coincide with a series of brutal murders gripping the city with fear. Jekyll knows it's no coincidence. While his nights are lost to him, he awakens with bloody mementos and violent memories of the screams of his victims.
An examination of Austrian psychologist Sigmund Freud's career when he began to treat patients diagnosed with hysteria, using the radical technique of hypnosis.
A portrait of Lord Longford, a tireless British campaigner whose controversial beliefs often resulted in furious political debate and personal conflict.
Who is Jesus, and why does he impact all he meets? He is respected and reviled, emulated and accused, beloved, betrayed, and finally crucified. Yet that terrible fate would not be the end of the story.
Faye, a former actress that lost her vision due to botched laser eye surgery, struggles to put her life back together while living alone in her dream house in the Hollywood Hills. Supported by her friend Sophia, she starts opening up to Luke, a personal trainer who is mute and can only communicate through his cell phone. When a masked stranger named Pretty Boy shows up, Faye will realize that she isn't as alone as she thinks.