Double Take (2009)
Double Take (2009)
Critic Consensus: It's neither as profound nor as enlightening as it wants to be, but this stylishly edited Hitchcock homage brims with its subject's singular spirit.
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Critic Reviews for Double Take
Hardly earth-shattering enough for a 5-minute short, much less an 80-minute movie.
Hitchcock was a master of mischief and misdirection, and no film so thoroughly infused with his spirit could be dull or predictable.
This isn't a normal movie; it's an art installation. And whatever it may have been meant to be, it takes its real meaning from you.
By contrasting Hitchcock's explanation of "The MacGuffin" with TV commercials and old arguments over who's winning the Cold War, Grimonprez makes a case for how historical events can be driven by threats more perceived than actual.
A way of showing how the Master of Suspense's work captured the zeitgeist, and how the zeitgeist responded by getting dumberer.
Audience Reviews for Double Take
An 'art' film in every sense of the word. I was never bored but I can't really say that I totally followed it. The mixture of fictional story (1980 Hitchcock meeting his 1962 doppelganger) and historical cold war documentary along with a Hitchcock lookalikes reminiscences makes for an interesting feature but a bewildering one. Like any experimental piece of work you can always find connections if there are enough strands and if you look hard enough but they may not always be what the film-maker intended. That being the case I can't say I understand the film but as a Hitchcock fan I enjoyed the old footage, the clever use of editing and the great soudtracks of Bernard Herrmann.
One of the most unusual films I have ever seen. It's not unusual in a typical way, it's more unusual because of the subject matter. Two stories are going on throughout the film. One story is about a 1980 Hitchcock visiting a 1962 Hitchcock and it's all done with old stock footage with voice overs. The second story is about the height of the cold war all done with news footage. This is all well and good, but you never see a real connection between the two and it's just a weird idea. This film is 95% television footage and at times it is compelling, but in the end it just doesn't make any sense. It does get a extra star for a great Bernard Herman score throughout.
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