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.

With a laundry list of buffed hits and assassinations, Joey and Danny Cielo (Peter Pardini and Matt Edde) have really put their family in a bind. In order to get out of this predicament, a hefty sum of money will need to be obtained. The problem is, Frankie and Lucio (Grant Garry and Matt Sullivan) - the hit men's money flow - don't have it. The dysfunctional family embarks on a get money quick scheme in order to pay back Lucas and Frederico Bracio (Victor Telles and Michael Karagozian). Their cross-country escapade entails fending off burglars, chasing a guy who "can't pay" and going through an all too odd drug scheme, Shooting Blanks is an interesting and eccentric look at "disorganized" organized crime. Combining dark humor, slapstick and action to spare, Whacked Films delivers an entertaining farce that Kellen Prandini calls "detailed."
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.
The film's Incluvie rating is off the charts. It features Black, Muslim, queer, trans humans whose moms hold them up, fight for them, and love them for who they are...making anything possible.
Carolina Caroline follows Caroline (Samara Weaving), a bored young woman dreaming of escaping a small Texas town where nothing ever happens. When she meets Oliver (Kyle Gallner) at her workplace while he is conning the owner, she sees her perfect opportunity to get out. Their whirlwind romance strongly echoes Bonnie and Clyde, as the two quickly embark on a bank-robbing spree.
Although Fargo is not actually based on a true story, I do believe it is worth the watch. It has drama, suspense, and a mysterious figure to keep you engaged.
The Force Awakens is A New Hope 2.0, in essence. The story structure is virtually unchanged, marking a safe opening to the new trilogy.
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.