Hitchcock's Subtextual Coding in 'Rope'
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

Commissario Paolo Ferro (Maurizio Merli) stars as a (typical) tough cop again. This time he returns to the city of Milan to go after a murder corporation. Acampora (Mario Merola) is believed to be the prime suspect although he later proves to be one of the mafia's targets. As if all that wasn't enough, Paolo has to face his own nephew who seems to be involved in all sorts of dirty business.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
This documentary moves chronologically through Black representation in horror films, revealing the genre's connections to Black history.
Star Wars is better if you believe that Luke Skywalker is gay. You can't change my mind.
When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like
The classic ghosts-in-revenge story expanded into an extensive dig into the historical social system while being funny and horny.