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Made in 1960, the first big-screen outing for Patricia Highsmith’s talented Tom Ripley introduced audiences to one of crime fiction’s great anti-heroes – and made a star out of Alain Delon.
The shape of the plot, in which Ripley schemes to usurp the identity of a wealthy acquaintance, will be familiar if you’ve seen the 1999 version .
Yet René Clément’s take offers its own pleasures, from the sun-bleached lensing to Delon’s charisma.
Tempering Hitchcockian intent with the experimentalism of the French New Wave, the result is as seductive as it is suspenseful: a bracing study of amorality.
After awards haul, Helldivers 2 devs lament the "dire state" of the games industry: "We need to be there to help each other"
Arcane season 2 act 3 finally vindicates fans by confirming a major League of Legends theory
Zelda creator Shigeru Miyamoto always knew that Navi was the "biggest weakpoint of Ocarina of Time" and once said "I wanted to remove the entire system"
