There is also a sort of sabertoothed gentility that [Hitchcock] greatly relishes, and no one else in the commercial cinema uses savage silence so well.

Once a Londoner, always a Londoner. Hitchcock's return to home ground, twenty-two years after Stage Fright, is a remarkable performance in most senses of the word.

In case there was any doubt, back in the dim days of Marnie and Topaz, Hitchcock is still in fine form. Frenzy is the dazzling proof.

Hitchcock struggles without the restrictions of the Hays Code and creates a film that is quite abrasive and confusingly boring.