Lefty, depressive, mostly broken

I review on the Hitchcock scale. For those who are not so familiar with The Master's work, let me break it down for you:
Vertigo - The masterpiece - directed with great style and innovation, with a strange and twisting story line that leaves you unclear of the characters' real intentions or what they actually know until the conclusion. The eerie conversation in the pine-barrens is one of the greatest scenes in film history.
Spellbound - Weird, engrossing film that has the plot density of Vertigo (and psychotic dream sequences by surrealist Salvador Dali) but with a less impactful ending
Psycho - High-adrenaline thriller, slick, polished, brutal, groundbreaking, and ultimately trendsetting
Rope - Undeniably an impressive film technically, with the adherence to a single shot aesthetic and it being his first colour film to boot, it is hampered by its own experimentalism and uneven over its brief running time.
Family Plot - Hitch's final film - an utter mess and starring Barbara Harris as the most annoying character in the universe, it's still great silly fun with great scene-chewing villainy by William Devane - the master slumming
Marnie - while well-received, well-made, well-acted and all, the story (millionaire falls in love with psychologically damaged thief and marries her to the chagrin of his family) isn't all that compelling and it never really impresses.
The Man Who Knew Too Much - here I refer to the remake, a film packed with massive setpieces that don't connect in any major way and make for an overlong, loud, senseless film that seems like a clip show of much better Hitch films.
Torn Curtain - Cold War film with atypical Hitch casting, a nonexistent character or story arc and little that stays with you, if blandly entertaining.
Suspicion - outright infuriating film that takes forever to go nowhere and has a non-ending that makes the rest of the film all the more meaningless.
Topaz - So utterly unmemorable and unpleasant that it's the only Hitch film not even worth watching once.