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Home from the Hill

Home from the Hill

Drama · Romance · 1960

The wealthiest man in a Texas town decides to teach his teenage son how to hunt to make a man out of him.

Movie details

Home from the Hill

“When you talk about great motion pictures you will talk about this one!”

1960 Drama · Romance 2h 30m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

The wealthiest man in a Texas town decides to teach his teenage son how to hunt to make a man out of him.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Home from the Hill?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Sleeping Dictionary

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In the 1930s, British officer John Truscott journeys to a remote village in colonial Malaysia to educate and Westernize the local Iban population. There, he's introduced to the lovely Selima. In keeping with tradition, Selima is assigned to sleep with Truscott and teach him the native language and customs. But when they fall in love, both colonists and natives object to their plans to marry.

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Great Expectations

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Names above the title

The people responsible.

Directed by

Vincente Minnelli

Written by

Harriet Frank Jr. · Irving Ravetch

Robert Mitchum

Robert Mitchum

Captain Wade Hunnicutt

Eleanor Parker

Eleanor Parker

Hannah Hunnicutt

George Peppard

George Peppard

Rafe Copley

George Hamilton

George Hamilton

Theron Hunnicutt

Everett Sloane

Everett Sloane

Albert Halstead

Luana Patten

Luana Patten

Libby Halstead

Anne Seymour

Anne Seymour

Sarah Halstead

Court is in session

Put Home from the Hill on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.