By: Kio Stark

I am struck by the formal oddity of where the dramatic stories end.

By: Joshua Glenn

Paranoid thrillers from Kafka to Graham Greene to William Gibson.

By: Joshua Glenn

Artful Dodgers from Oliver Twist and Richard Hannay to Jason Bourne.

By: Joshua Glenn

A scene from YOUNG AND INNOCENT (1937)

By: Joshua Glenn

A scene from THE 39 STEPS (1935).

By: Joshua Glenn

A scene from THE MAN WHO KNEW TOO MUCH (1934)

By: David Smay

The boundary between uncanny and uncanny-­fantastic is a difficult one.

By: David Smay

Liminal Horror movies — between the super­natural and the every­day.

By: David Smay

Why are horror movies from 1960-63 so resistant to critical analysis?

By: Joshua Glenn

A scene from THE LADY VANISHES (1938)

By: Joshua Glenn

The 1894-1903 cohort are bitterly resigned to unfreedom.

By: Jason Grote

ALFRED HITCHCOCK (1899-1980) was schooled in the genre conventions of the English Murder Mystery and the Hollywood Thriller, and his primary goal was always to entertain. A legendary control freak, he invented some of cinema’s […]