Vertigo

Quentin over Fellini? "Annie Hall" over Antonioni? Quentin over Fellini? "Annie Hall" over Antonioni?

Has critical taste become fossilized? A new greatest-films poll yields some odd results, but poses old questions
By Andrew O'Hehir Jul 14, 2009

  • "12 Monkeys"

    Combining time-travel thriller and experimental film, Terry Gilliam's 1995 oddball classic steals a tale of doomed love and cruel fate from Hitchcock -- then pays back the debt.
    By Virginia Vitzthum August 19, 2002

  • A funny valentine

    Whenever I meet a woman who is beautiful but uneasy with it -- and there are a lot of them -- I get that strange Novak feeling.
    By David Thomson February 16, 2001

  • The look of love

    In "Vertigo" we fall for Kim Novak at the same time James Stewart does.
    By David Thomson December 1, 2000

  • "Vertigo" by W.G. Sebald

    The tale of a strange quest, haunted by the ghost of Kafka, from one of the oddest great writers around.
    By Brigitte Frase June 26, 2000

  • Sharps & Flats

    Swedish popsters Cinnamon have the singer, the songs and the sheen. They're like the Cardigans -- for smart people.
    By Joey Sweeney April 12, 2000

  • A chat with Mr. Oscar

    Damien Bona talks about "American Beauty" and Warren Beatty, "Titanic" and Roberto Benigni and more than 70 years of the academy's hits and misses.
    By Bill Wyman March 24, 2000

  • Window washers

    Robert A. Harris and James C. Katz bring the reds, whites, blacks and blues back into Hitchcock's nimble masterpiece about the burden of perception.
    By Michael Sragow February 10, 2000

  • "Rear Window"

    James Stewart loves watching the defectives in Hitchcock's restored peeping-tom thriller.
    By Charles Taylor January 21, 2000

  • Master of imperfection

    Hitchcock may have been a master of many things, but his goofy endings were like a dead cockroach found at the bottom of a near-perfect cinematic sundae.
    By Steve Burgess August 13, 1999

  • The Savage id

    Camille Paglia talks about why Hitchcock has more to do with Madonna than he does with pomo theorists.
    By Michael Sragow August 13, 1999

  • Lights, cameo, action!

    Alfred Hitchcock's first rule of directing was to treat actors like cattle -- and even in his own cameos, he was no sacred cow.
    By Sarah Vowell August 11, 1999

  • Ballad of a fat man

    Orson Welles' recently reissued noir classic 'Touch of Evil' may be the sleaziest good movie ever made.
    By Charles Taylor September 10, 1998
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