Hitchcock’s final film is a lighthearted caper packed with his usual tricks—mistaken identities, double-crosses, and an elaborate chase. The story is interesting enough, but the whole thing feels oddly small-scale, like an extended Murder, She Wrote or Columbo episode. The 1970s colour saturation only adds to that made-for-온라인카지노추천 aesthetic. While it’s entertaining in parts, it lacks the tension and sharpness of his best work, and you never feel thoroughly captivated. The performances are decent, and there are flashes of Hitchcock’s wit, but it never truly soars. A curious farewell but not a particularly grand one.

Clever script, lots of double entendres, Mostly entertaining. Unfortunately, there's a few goofy characters who are annoying, The production looks cheap , with dated 70's fashions and sensibilities, A far cry from the usual Hitchcock elegant productions.

Loved it. A fun caper.

I'm a fan of Hitchcock's Rear Window and his tv series so I was keen to see this lesser known film. But I just thought there was too much going on plotwise to care what happened to such unlikeable characters. I did enjoy Torn Curtain with Paul Newman and the Man who knew too Much with James Stewart and Doris Day.

A more light-hearted Hitchcock film that has a very intriguing pace. Essentially, it's a tug of war between two couples who have no idea what the other's true agenda is (or that either even exists), resulting in drastic measures being taken and the entire story collapsing on itself. The actors do a tremendous job, even if the comedic dialogue and scenes take away from many of the scenes. It is one thing that Blanche and George basically communicate through sexual innuendos. It becomes endearing as the film progresses, juxtaposing the couple's lack of awareness of the mess they've dragged themselves into. But when the same slapstick is present during what is supposed to be a tense descent in a car without breaks, it really doesn't help. I understand that this is exactly what he was going for. However, it feels forced and genuinely unfunny, especially when contrasted with the macabre fact that the key point of the story is a kid burning his parents alive. At the very least, it distinguishes the couple, as Fran and Arthur have CIA-level skills and equipment. They should be stealing government secrets, not diamonds with their abilities. It is also evident that trying to shoot in the studio really left a giant scar on the movie. The chroma key just doesn't stand the test of time, sometimes in the scenes where it was really unnecessary, like Arthur's jewelry store. The soundtrack is great and the ending is so cheeky, but with hindsight, it could've been so much more. Apparently, Hitchcock considered showing up himself on the stairs and winking at the audience, but because he didn't think it was his last movie, he turned the idea down.

Fun Hitchcock. Bruce Dern is the glue that holds this thing together. A set piece or two away from being something really solid.

Family Plot is a fairly lackluster conclusion to Hitchcock's career, even if it does have all the signs of his classic films. The expected murder, sex, humor, and surprises are marginal at best, often so convoluted and slow, I often found myself fighting off sleep. However, the last shot nearly makes up for the whole thing, a perfect period at the end of Alfred's career sentence.

While obviously not comparable to some of Hitchcock's classics and much lighter in tone, the plot of his last film is still well crafted and kept me interested for the entire runtime. I always appreciate Bruce Dern and enjoyed William Devane here as well. John Williams provides the score which at times heightens the level of quirkiness this film reaches, despite the serious stakes for the main characters. I thought the ending was also a little corny and predictable, but in no way ruins the movie either. 6.5/10

Barbara Harris is reason enough to watch Family Plot. And, of course, this being Alfred Hitchcock's last film makes this a must for film lovers. At times, the movie feels like an Alfred Hitchcock Presents 온라인카지노추천 episode, but that's not terrible.

It was time for Hitch to call it a day.

And finally I've completed my collection of Alfred Hitchcock films from the blu-ray collection of Alfred Hitchcock: The Masterpiece Collection released in 2012 (roughly been on my shelf now for 7 years). It's been a total of 15 movies (yes just a small slice from the 50 films Hitchcock directed overall) and went from Saboteur (1942) to Family Plot (1976). So, yeah Family Plot was kinda all over the place for me. It has some good performances, but man the plot was just a bit too wacky for me and the pacing was really slow. The movie revolves around two couples. One couple is Blanche (Barbara Harris) a con artist of a woman that pretends she's a psychic and can talk to people's long lost loves. When she is hired by a lady named Julia Rainbird (Cathleen Nesbitt) to find her long lost nephew Blanche tells her boyfriend Lumley (Bruce Dern) to assist. Lumley is kinda in on the whole fake psychic stuff and he himself is just a cab driver, but is an inspiring actor. With a prize of $10,000 if they can locate Julia's nephew they are on the case. Meanwhile, a man named Adamson (William Devane) and his girlfriend Fran (Karen Black) are kidnapping high end officials and ransoming them for diamonds. In return they are running a front for a jewelry store. Well the thing is Adamson turns out to be Julia's long lost nephew, but Adamson is going by a different name because of some shady stuff in the past. What ensues is a big cat and mouse chase here and a lot of people in the wrong place at the wrong time. Like I said I enjoyed the performances her especially Bruce Dern and William Devane. There's a decent story here, but I just really didn't care by the end of it all. Someone in the movie even dies and I seriously was like, "We'll that just happened." Overall, as the final film from Hitchcock this one's a dud in my opinion. It has some moments, but for the most part I really enjoyed the previous film Frenzy (1972) a whole lot better. Side note: Hitchcock was planning another film after this one which was going to be another spy film, but because of his health it was canceled and never filmed, so maybe just maybe he was going to go out in a bang if he knew that was the final one!

Family Plot takes the cake for the worst Alfred Hitchcock movie with ease. Alfred Hitchcock is one of my favorite directors and going into this film I was expecting Hitchcock's usual flare and brilliance but instead I viewed a tonal mess where the characters are 100% obnoxious and unlikable.

I love this movie. It differs from the usual Hitchcock style but still a movie that I could watch over and over again. Brilliant score by John Williams, too.

Solid thriller from the master mind Hitchcock. Sad it was his last.

Not crazy about this one. Family Plot was the first Hitchcock movie with comedic elements that I've watched and it didn't really do it for me.

Family Plot surprised me. As Alfred Hitchcock's last film, I expected him to be a little burned out and the film to suffer because of it, but it's a clever and captivating movie. Even though it's a little goofy in parts, it still manages to be suspenseful and the story takes turns that I didn't expect. This is upper-tier Hitchcock.

Barbara Harris stars as a fake psychic who is commissioned by a wealthy client to find a man who is the heir to her fortune, but was whisked away as a baby because the mother was not married. She is helped by her boyfriend, Bruce Dern, who's a cab driver, actor and her own private detective. Their search brings them up against William Devane and Karen Black, a pair of kidnappers. Hitchcock's last film is not good, but it manages to be better than some of his worst films from the previous decade. I confess that part of my dislike for this film is due to my rather intense dislike of Harris, who I find horrendously annoying and unfunny. But beyond that, it feels like Hitchcock just isn't in tune with the way a film from the 70's should look and feel. He uses rear projection to mimic a car racing out of control, and it looks awful. Dern and Harris have a bit of coy, sexual banter going on that just ... does ... not ... work. (Note to filmmakers: Never have Dern make a comic reference to his erect penis.) This is a slow, sluggish and lifeless affair.

It doesn't carry the impact that the classic Hitchcock thrillers do but Family Plot is still a cleverly constructed film with an engaging premise and some smart twists.

What more could one ask of a director's final film? I mean, two masterpieces as a send off.

Family Plot is a nice double-entendre for the plot against the Shoebridge family, whose mystery begins at the family's grave plot, a dishonest representation of their fate. Edward Shoebridge is a missing body, and it's believed he's not dead. A rich woman who is his aunt hires a psychic to track him down. The psychic uses her special powers - taxi driver/actor boyfriend George (Bruce Dern) - to track down Shoebridge so they can get a $10,000 reward. One classic Hitchcock device is identity crisis, people getting in trouble for not being who they are. It happens on every level, heroes and villains alike. Edward is really Arthur Adamson, a corrupt, kidnapping jeweler who erased his previous identity. He enjoys asking his girlfriend to play a tall blonde for crime jobs, something Hitchcock himself might like. Even in his store he won't allow them to acknowledge themselves as a couple, they role play store manager and customer almost pointlessly - it couldn't possibly matter to these customers that they're together. But Blanche and George are a mirror image - she plays a phony psychic, he plays anything she asks him to (sex roles reversed from previous couple), and as a couple, they are to appear as driver and client. The film acts as a couples faceoff, perhaps a third entendre as either of these two couples' eventual marriage will make them a family. The main protagonist is a blonde female, the accomplice antagonist is a dark-haired female; the accomplice protagonist is a blonde male, the main antagonist is a dark-haired male. The brakeless winding downhill drive may be the one major action/suspense sequence that Hitchcock planned to wow us with, but by 1976, these poor visual effects are no longer an excuse, and it seemed he was more interested in the comfort of an easier filming space than with getting the most convincing images. It is an annoying abomination to watch this part, Blanche helplessly flailing about, clinging on uselessly to George, bodies reacting with no inertia to these ridiculous turns that'd have them flipped over long ago. The comedy is too slapstick - her body position changes radically each time we cut back to the interior, one second wrapping herself in his tie, the next her legs kicking upside down. In this dire of a situation, one might think to crash the car, but he acts as stupid as she does, and it all looks really bad. Hitchcock definitely looks to be running out of gas by his final entry, no grand staging, effects, or cinematography to transcend us. His penultimate Frenzy really seemed to be a last desperate inhale, recovering from the long exhale that was fading magic in Marnie to Topaz, in which he invoked some of his rawest personality with shrewd images set against satirical macabre. In Family Plot, he relies on fun characters acted well enough in an interesting and slightly ironic situation. Ernest Lehman delivers a decent script that creates enough mystery to make us want to know what the hell is going on here, to some degree. Some of the minor details get a little jumbled and lost, but the gist is good enough to keep me engaged. I like how Maloney is used to keep the tension distracted from our heroes and their primary target; Edward/Adamson doesn't have much more to throw in their way. Maloney's literal fall from the story is so ridiculous that it earns a good laugh.