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Anatomy Of A Psycho YIFY


Many reviewers and critics have commented on Alfred Hitchcock's theme of the voyeur in Rear Window (the mere thought of a voyeur in a suspense film conjures up images from other classic Hitchcock films), and I felt that voyeuristic bug as well. But I realized something that I hadn't thought of as I watched it for the first time- this is a return for Hitchcock to his skills as a master of silent-film chills. As L.B. Jeffries (Jimmy Stewart in one of his most infamous performances) is in his wheelchair viewing out one perspective to other inhabitants in the apartment, the audience views right along-side him. So, for more or less 50 percent of the film, the only sounds we hear are the sounds of mere realism, as Hitch's camera keeps a close eye on things. As the thrills build in the second hour of the film there is considerably more dialog than the first hour. This could, and occasionally does, present a challenge for the audience member that could either be accepted & payed off or resented- can one sit back and just watch things unfold as in a film from the 20's Personally, the experience of seeing these events unfold and increase was near electrifying. Along with Stewart's performance, which ranges from amusing to terrified, compelling to frightened (i.e. Hitch's 'everyday man'), there's Grace Kelly as Lisa, who carries her own beauty & inner conflicts, and Raymond Burr as Thorvold, who could have things going a little better with his wife. If we empathize with Jeff, it's because we become as much apart of his mind-set/POV as he already is, and that's the ticket to the film's true success. Not only is there a magnetic kind of skill to which Hitchcock (and cinematographer Robert Burks) presents us with the apartments' supporting and minor characters and how their fates are played out against the enclosed backdrop, but the psychology of Jeff becomes parallel, or against, to the audience's. This is the story of one man's temptation and compulsion to be involved with those he can see (much like movie-goers have with any given film), and how perception of the realities around him become ours. Rear Window may have become dated for some movie-goers, particularly since the theme has been played on by other movies and TV shows (like The Simpsons for example). Yet there is a certain effectiveness to it all, even in the earlier scenes, that holds an edge over imitators. A+

Let's get it straight: giallo can class it up at times, but at its heart, it's a scummy and brutal genre. No movie - save perhaps Play Motel or The New York Ripper - is as brazenly profane or messed up as this film. That's saying something, because this is the kind of genre where the heroine can be totally fine with a man making love to her on broken glass (The Strange Vice of Mrs. Wardh) or absolutely fine with the hero making a joke about having tradesman's entrance sex with her as a reward (Strip Nude for Your Killer, which predates Kingsman: The Secret Service by oh, three decades or so).In case you were wondering, this is all brought to you by Mario Landi, who made a sequel to the Australian movie Patrick with Patrick Still Lives, except his movie has extensive sex scenes. Because Italian exploitation, that's why.PS: Is it sad - or awesome - that I know that Patrick Still Lives was shot in the same house as Burial GroundOh Leonora Fani. I watch your movies and feel bad for you, like you need protection from the maniacs making your films. Between this movie, Hotel Fear and The House By the Edge of the Lake, one starts to worry for your psyche. Here, she plays one part of a doomed couple - along with Gianni Dei, who played Patrick in the aforementioned Patrick Still Lives - who are killed by a maniac who likes to use scissors on very tender parts of his victim's anatomy.Reviewing all of this is a cop with wild hair played by Jeff Blynn, who shows up in Stallone's Cliffhanger. He's so hard boiled that he eats hard boiled eggs throughout most of the film's running time.Amazingly, Scorpion Releasing restored and re-released this film after they found the legendary uncensored version of this movie hiding in the attic of a Portuguese dental clinic. All copies have been sold out for a while, but man. Movies are weird sometimes.This isn't the kind of film that I'd recommend to anyone, however. It has little to no redeeming value, as even its soundtrack is recycled from Interrabang and Burial Ground. For all of the vitriol thrown at The New York Ripper, that movie is positively restrained when compared to this. What do you expect from a movie that outright tells you that it's a giallo right from its title There's nothing subtle at all here.Man, I feel like Evelyn Quince from Tales of Ribaldry. "Our once baudy tale is turning into a tawdry tale of pornography! I don't like it!"But seriously, this is pretty much the scummiest movie I've ever featured on this site and I regularly ingest Joe D'Amoto movies. Watch it at your own peril.

DON'T READ IF YOU HATE SPOILERS!!!!!!!!!!!!!!!!!!!!But the whole middle part was a frustrating watch. It was unrealistic how the girl's mother so strongly refused to believe when her daughter said the guy assaulted her. I mean she wouldn't even listen to her daughter at all.Her daughter's immediate reaction to seeing him when the mother brought him to the house should've been a big clue, but the dopey clueless mother just accused her daughter of being jealous that she's seeing a man who's not her dead father!! Wow.Which brings me to the other thing that was unrealistic (and funny).... The dopey mother, clearly in her 40's with a face full of middle aged wrinkles, actually believed that this hot 20 something reality TV star who apparently was a hot Hollywood commodity and making millions----would be going out with this 40 something tired looking nurse. It was laughable. If she had half a brain she would've seen that he was only using her to get close to her daughter. Many times I wanted to reach into the screen and slap sense into her. She looked like his mother standing next to him lol.The daughter frustrated me too because she just HAD to make her dopey mother believe that he was stalking her that she actually broke into his mansion to retrieve a Polaroid of them together to get her to see she wasn't lying.All she really had to do was sit back and let things play out on it's own because the guy's obsession with her would've revealed itself eventually.I liked the ending though. There was a point during the final confrontation that I had no idea which way it would go and I like that it wasn't easily predictable.I just didn't get one thing.... At the very end the cop says "They're both going away for a long time." But if it was just the stalker's crazed mother who was doing all the killing and kidnapping, what's the stalker going away forHe looked genuinely surprised when she revealed to him how she killed his ex girlfriend, so therefore his only crime was having the hots for a 17 year old. And the assault in the beginning was merely him trying to kiss her in his living room before his psycho mommy walked in.He also seemed shocked to see Kendra and her friend Jake tied up in the room when he got home and helped them escape. So it appeared at the end of the film that he was innocent in all this and was just a stalky creep with a short temper.I did like it overall though and the acting was good all around. So I put it right in the middle with 5 stars.

I found "Stone" to be a profoundly compelling psychological drama but an eminently twisted one. Prison inmate Gerald 'Stone' Creeson and his wife Lucetta (Milla Jovovich) on the outside devise a devious plot to get him released from jail by preying on the emotions and guilt of parole officer Jack Mabry (Robert De Niro). That includes Lucetta seducing the willing lawman into a lurid affair, while her husband's sessions with Jack consistently force him to reevaluate his own life and some of the irrational and dangerous ways he used to control his own wife. An opening scene of the young Mabry couple reveals a troubled couple on the brink of separation, a time when Jack kept Madylyn Mabry (Frances Conroy) under his thumb by threatening the life of their young child.Stone himself is no angel. His body language and street talk manner reveal a troubled past and a future that holds not much promise. In the early going, one knows that Stone is attempting to manipulate Mabry, but the man, only a month away from retirement, has pretty much seen every trick in the book employed by criminals to win early release. More successful is Stone's wife, who's persistence in arranging a personal meeting with Mabry eventually brings them together and into situations that the parole officer is uncomfortable with, but succumbs to as a result of Lucetta's seductive beauty and manner.What one expects as the inevitable result of Lucetta's interference is that Jack eventually writes a proposal that recommends Stone for parole. The film's agenda in my opinion, demonstrates how conflicted Mabry is about his own personal feelings and beliefs. The question for him is whether he offered a favorable recommendation to the parole board based on his client's merits, or because of Lucetta's carnal pleasures. In attempting to come to grips with his wrenching indecision, Mabry seeks out a clergyman's assistance to find an answer to his existential questions about the meaning of life, but to no avail. Meanwhile, Stone himself dabbles in a dubious feel-good religion called Zukangor that arms him with more psycho-babble with which to intimidate Mabry into an early parole. At the film's conclusion, Stone does get the pardon he was striving for, but in retirement, Jack Mabry becomes a prisoner of his own tormented mind and soul, knowing in his heart he's every bit the miscreant his client ever was. 59ce067264


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