There are a handful of directors with styles so distinctive that their names become adjectives: Lynchian, Kubrickian, Tarantinoesque. The most famous of them is Hitchcockian, and for good reason. Alfred Hitchcock was a true pioneer, helping to establish the modern mystery film. The phrase refers to movies with ample plot twists, MacGuffins, mistaken identity, and innocent characters accused of wrongdoing, to list just a few of the key characteristics.
The film performed decently at the box office, mainly due to the two leads' star power, and Angelina Jolie tried her best to keep it afloat; alas, it wasn't enough. Indeed, the story succumbs to the weight of its convoluted plot, and the tone is muddled. The Tourist is at its best when being light and humorous, but it quickly becomes overly self-serious, which is a shame because the film had potential.
Once again, this is a movie that could have been great. Joe Wright is a skilled director who knows how to shoot a scene, and cinematographer Bruno Delbonnel makes every frame gorgeous. Then there's the ensemble cast, led by the mighty Amy Adams. However, the script is thoroughly mediocre, with plot twists that feel forced. The ending, in particular, borders on the absurd and is a major letdown, given all the buildup.
Do You Like Hitchcock? is chock-full of references to the Master of Suspense's work, meaning it will have some appeal to Hitchcock fans hoping to spot them all. But this gimmick wears thin after a while and doesn't compensate for story problems and underwritten characters. Plus, while the film does bear flashes of Argento's signature flair, its lack of gore and mayhem make it a relatively tepid entry in his filmography. Far better to just rewatch The Bird With the Crystal Plumage.
House at the End of the Street epitomizes the worst aspects of derivative horror, where every original element feels mundane and predictable compared to its inspirations. Even the title sounds like a bad ripoff of Last House on the Left. For instance, some scenes try to emulate Psycho in a painfully clumsy fashion, and the limits of its PG-13 rating don't help. The film was eviscerated by critics, but clearly, the studio knew what it was doing: it grossed a solid $44m against a $10m budget.