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Top Fifty Films of the 40s — Number Twenty-One

#21 — Shadow of a Doubt (Alfred Hitchcock, 1943) Family is a twisty, tricky thing. For Charlie (Teresa Wright), a cheery teenager in a small California town, the imminent arrival of her uncle, also named Charlie (Joseph Cotten), is cause

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Top Fifty Films of the 40s — Number Twenty-Eight

#28 — Notorious (Alfred Hitchcock, 1946) It seems Notorious began with a desire on the part of director Alfred Hitchock to cast Ingrid Bergman as a woman involved in deceits and duplicitous machinations at the highest levels. This inkling would

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Top Fifty Films of the 40s — Number Thirty-Two

#32 — Suspicion (Alfred Hitchcock, 1941) Alfred Hitchcock had an abundance of theses he kept circling around to during his career, a natural outcome of his prolific nature and usual ability to take his pick of projects. That’s a significant

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Top Fifty Films of the 40s — Number Thirty-Eight

#38 — Rebecca (Alfred Hitchcock, 1940) Rebecca holds a unique place in Oscar lore as the sole Alfred Hitchcock film to nab the Best Picture trophy (or Outstanding Production, as it was still called at the time). The famously unrewarded

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Top Fifty Films of the 50s — Number Four

#4 — Strangers on a Train (Alfred Hitchcock, 1951) The films of Alfred Hitchcock are ideally suited for clip reels, which can skew perception of them a bit. Moreso than Billy Wilder, John Ford, or any of his other rough

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Top Fifty Films of the 50s — Number Seven

It’s probably impossible to pinpoint the first Alfred Hitchcock-designed image I was exposed to, but I know the single shot that stands as the first I really saw. It’s arguably his most famous, certainly in a neck and neck race

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Donahue, Hitchcock, Lang, Scorsese and Tedeschi, West

The Sacrament (Ti West, 2014). Following a couple elegant, artful horror features, West finally goes where all modern directors with a propensity to scare must. The Sacrament is a “found footage” that relies on the conceit of a couple Vice

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