Bring your hot takes somewhere else, Rear Window is S-Tier Hitchcock. Made and released between other Grace Kelly classics Dial M for Murder, and To Catch a Thief, Rear Window's strength lies in Hitchcock's ability to make us willing accomplices in Jimmy Stewart's spying on his neighbors, by leaning so hard on his POV and ratcheting up the tension of being stuck in one place. Clint, Cal, and Alex dive into how such a simple set up becomes so complicated to shoot, the technical precision it takes to shoot everything from one vantage point on a giant set, and why Jeff absolutely sucks without ruining the movie. Will it end up being the highest Hitchcock film on the list?