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Summary: A Spooky Classic!
Review: Alfred Hitchcock's Psycho is my favorite movie in the Psycho series and my favorite Hitchcock movie. The movie is amazing and very spooky relying more on the phychological horror and suspense and proving that an effective horror movie doesn't need exsessive gore to be scary. Anthony Perkins is outstanding as Norman Bates and I highly recommend this movie which can be watched anytime but is perfect to watch as part of a horror movie marathon on Halloween. I used to have this movie on video but it was getting worn out and I'm going to buy the DVD and I think it will be awesome to finally see this classic in widescreen!
Rating:
Summary: "MASTERPIECE"
Review: Black & White photography at its best! Way, way ahead of its time. Thank you Hitch.
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Summary: The mother of all motels
Review: When it comes to modern-dress movie monsters, you can keep your Freddys and Jasons. I'll take the shy young man perched in a gingerbread house on a hill overlooking a failed business venture off the main highway. Yes, it's Mr Bates (wide smile: "Norman Bates"), leading a life of quiet desperation, perhaps with a deranged parent. "But she's harmless! She's as harmless as one of those stuffed birds!" Norman has a hobby: he stuffs things. In Robert Bloch's 1959 novel "Psycho" Norman is an overweight, middle-aged whiner. In Joseph Stefano's 1960 screenplay, stunningly directed by Alfred Hitchcock, Norman is a handsome 20-ish recluse who offers sandwiches and milk to the woman arrivng at his motel late one rainy night. Mr Bloch introduced Mary Crane in Chapter II and had her dispatched in Chapter III. In the movie version Marion Crane (Janet Leigh) is the central character through the story's first half. With her biological clock ticking away, Marion finds herself in an impasse with a divorcé named Sam (John Gavin), who has financial problems and cannot offer her marriage. Entrusted with $40,000.00 in cash (she's a realty secretary), Marion cannot resist the temptation; and embezzling the money, she drives out of Phoenix, heading for California and her lover. Her encounters with a patrolman (Mort Mills) and a used-car salesman (John Anderson), both of them suspicious, generate cumulative tension and incipient terror. Part of this is due to Janet Leigh's excellent performance, her fear, her confusion skillfully presented. The fact that she creates such a sympathetic character makes Marion's predicament (and her ultimate fate) all the more compelling. Marion is basically an honest woman and, boy, can you tell when she's lying. (Basically honest, yes, but notice her sister's odd reaction when Sam says "I can't believe it -- can you?") The picture's best scene takes place between Norman and Marion in Norman's back parlour. Their conversation is at first distantly polite, but soon it becomes more personal; and when Marion makes the mistake of suggesting that Norman's mother should be put "some place", the mood abruptly darkens. Bernard Herrmann's spooky strings enter the sound track and Norman, his shyness erased, sits forward, his face hard, his voice sharp and dangerous. The story's second half is concerned with Marion's sister Lila (Vera Miles) who, searching for Marion, comes to Sam's small home town, she herself followed by an insurance detective (played by the strong character actor Martin Balsam). The second half is not as logical as the first half. Why does Sam deliberately antagonize Norman, thus endangering Lila, who has sneaked up to the house to find the "sick old woman"? The acting throughout is superlative, though Simon Oakland's last-scene psychiatrist is not aging well. The most difficult role, of course, is Norman; and Anthony Perkins, turning his adolescent charm inside out, balances the character's awkwardness with a sly, cynical understanding. It's a terrific performance, in both senses of the word, and many people were surprised and upset when he wasn't nominated for an Oscar. (Hitchcock and Janet Leigh were both nominated.) Unfortunately, we have Anthony Perkins partly to blame for the "Psycho" sequels of the 1980's, each one becoming increasingly garish and silly. As for Gus Van Sant's 1998 "replication", it's to be avoided like ... well, like the Bates Motel.
Rating:
Summary: The Original, and accept no substitutes
Review: Anthony Perkins defines Norman Bates, and this movie is miles ahead of the remake. Many words have been written about the movie and plot, so I will address the extras. The production notes, which are broken into chapters gives tremendous background information on how the movie was created, directed, written and acted. In context, this movie was made during heavy censorship, wherein the seal of approval was necessary for the film to be shown. How this was dealt with provides much fascinating commentary. This was the first movie to show an actual toilet in a bathroom! The word tranvestite caused the censors a problem until it was shown they really didn't know what the word was -- it just sounded naughty! And oh so much commentary about the shower scene, which still stands the test of time. The commentary is almost as long as the movie itself. This movie belongs in any serious movie buffs collection. The print is good, although initially there are some streaks and blemishes in the titles, but that disappears once the movie starts. And how many knew there was a connection of the movie and Star Wars? Buy the DVD and find out that connection.
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Summary: THE DEFINITIVE SLASHER MOVIE
Review: THIS IS THE FOUNDATION OF THE SLASHER MOVIE GENRE. BEFORE FREDDY, BEFORE JASON, BEFORE MICHAEL MYERS, AND BEFORE LEATHERFACE, THERE WAS NORMAN BATES. IF ALL YOU CAN REMEMBER ABOUT THIS CLASSIC IS THE FAMOUS SHOWER SCENE, THEN YOU NEED TO WATCH THIS MOVIE AGAIN. A WOMAN [JANET LEIGH] SPENDS THE NIGHT AT A MOTEL THAT'S RUN BY NORMAN BATES [ANTHONY PERKINS] AND HIS ''MOTHER''. SOON, SHE IS MURDERED BY NORMAN AND BEFORE YOU KNOW IT, HER MURDER GETS INVESTIGATED BY THE POLICE. A DEFINITIVE CLASSIC ON ALL LEVELS. VERY THRILLING, VERY EXCITING, VERY CLEVER, AND VERY IMAGINATIVE. IT'S BEEN 43 YEARS SINCE THIS CLASSIC WAS FIRST RELEASED AND THERE STILL HASN'T BEEN A HORROR MOVIE THAT COMPARES TO THIS ONE. IF YOU'RE GONNA SEE AN ALFRED HITCHCOCK FILM, THIS IS THE ONE TO SEE. NEEDLESS TO SAY, THIS FILM PAVED THE WAY FOR MANY IMITATORS. FOLLOWED BY THREE SEQUELS [THE LAST ONE WAS MADE FOR CABLE TV IN 1990], A TV MOVIE [BATES MOTEL], AND WAS REMADE IN 1998.
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Summary: Another suspense classic from Hitch
Review: First let's get a common misconception out of the way; Psycho is no more a horror film than Jaws is. It's a suspense film with two horrorfying moments. Yes, the use of black and white photography, Bernard Herrmann's brilliant score and Hitch's imaginative camera angles do echo what we've come to expect from horror films. That's because the genre has borrowed from Hitchcock and made it their own. It's cheapened Hitch's film in many respects (and lessened the impact somewhat)but such is the fate of great films that influence a generation.I suppose the difference between a horror film and a suspense film is best described as follows; someone jumps out of the shadows and yells "boo!". We, the audience, weren't aware that they were in the shadows at all. Seeing the twisted wreckage and gore. Suspense, on the other hand, is walking into a eerie room knowing that someone is watching you but not able to confirm it. It's that sense of being uncomfortable. We the audience know that someone is there and can actually SEE them. Our fear for the character and what will happen generates the suspense. One lasts but a moment but the other (suspense) has a much larger pay off. Sure, there's moments of horror in Psycho but two moments don't make a horror film. It's everything that surrounds those two scenes that make it a suspense film. Why is that important? Because everyone is judging the film (and some find it wanting) as a horror film. As a horror film (slasher films are much more closely related to John Carpenter's terrific Halloween than Psycho). As a horror film, it's ultimate a failure but, well, that's because we're judging the film on an inaccurate reputation. Hitch's film deals with many of his personal themes--guilt, murder and the psychology of the human mind. Hitch had first ventured into this area in the 40's. This film, along with Frenzy, is his most penetrating into that latter theme. The plot is well summurized elsewhere so let's talk about the DVD. In many respects Psycho features ultimate con job; the audience is lured into thinking that the film is about one thing and then, suddenly, Hitch switches gears. He had tried a similar experiment (unsuccessfully)with Stage Fright and had it down by the time he and Ernest Lehman dreamed up North by Northwest. The DVD transfer is very, very good. There's vintage material included as well; the original trailer which had Hitch giving a tour of the Bates Motel and home. While it isn't Hitch's best film (although it certainly belongs in the top 10 or so), it's his most visceral and impactful during the thematic shift in the second act. The documentary is very informatative. Like all of Universal's Hitchcock DVDs, Psycho is top of the class. I have to salute Universal for not messing with Hitch's legacy and presenting his classic films the way they should be on DVD (unlike, say, Warner Home Entertainment's Kubrick collection which--admittedly was partially due to Kubrick himself). Psycho is one of only two films by Hitch that is rated R. It deserves the rating. While the film isn't graphic like many of the films released not, it's the implied violence and artful use of the film medium that makes it so overpowering. It's the difference between art and artiface something that view modern film directors understand.
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Summary: The horror movie standard was set here
Review: In 1998, Gus Van Sant remade this classic with Viggo Mortenson, Anne Heche, and Vince Vaughn. He used basically the same camera angles, the same dialogue, and even the same sets. The only real noticable changes were the film's being shot in color, and the inferiority of the cast. The obvious question is-- why remake a movie that really cannot be improved on? I don't know. But I do know that Alfred Hitchcock's Psycho is one of the best spine chillers in film history. The cast is excellent. Anthony Perkins as Norman Bates is one of the screen's most noted achievements. Janet Leigh was the only real name at the time of this film. Since she is killed about 40 minutes into the movie, Hitchcock forced theater managers to not allow patrons into the movie after the starting time. Otherwise, they may not see the star they came to see. Naturally, this had the effect of huge lines down the street to see this film. The story is basic. Marion Crane (Leigh) steals 40,000 dollars to help her boyfriend (John Gavin) with his alimony so they can get married. On the way to see him, she stops at a motel for the night. The manager gives her the key and offers her a meal. They talk for a while and she says she is tired and is going to bed. She goes back to the room and gets into the shower and then... If you don't know what happens after that, you obviously are not too familiar with movies. This shower murder is possibly the most famous screen killing in movie history. After the death of Leigh, the film switches to a search for her and the money involving a P.I (Martin Balsam) and Leigh's sister (Vera Miles) One of the reasons this movie is so great is the way Hitchcock plays with and manipulates your emotions. Take the classic example right after "Mother" has murdered Leigh. Perkins cleans up the room, and throws all Leigh's stuff into her car. He pushes the car into the pond. The car sinks about 2/3 of the way and then stops. At this point the audience feels panic that the car won't sink all the way and that Perkins will be caught. We switch our allegiance to Norman away from Marion and don't even know it. When I heard about the imminent remake of this movie I shuddered. I knew the actors, especially Vaughn, would have no chance to succeed here. I went to see it and of course it was awful. If you want to see this film, see it from the master. The new version is a shoddy joke.
Rating:
Summary: Hitchcock's Classic is a Killer
Review: An excellent DVD presentation of this classic thriller by the master of suspense, Alfred Hitchcock. The video is presented in 1.85:1 and although the opening credits show some wear and tear, the rest of the film is in really great shape. The transfer is surprisingly good with great blacks and shadows throughout. The audio is 2.0 channel mono and is also in good shape. As if the great presentation of the movie wasn't enough, Universal has included The Making of Psycho. A 90-minute documentary on the film. Also included is the shower scene analysis with or without music and the storyboards for the scene. There's also the Universal International Newsreel "A Visual Pressbook" and the Psycho Archives which feature an extensive gallery of production photos, lobby cards and publicity materials. Then there's the standard production notes, cast bios and the great Hitchcock tour of the Bates Motel. Can't go wrong with this disc!
Rating: 
Summary: PsYcHo
Review: I think this movie is the funniest movie ever. I saw it with my friend and her dad told us not 2 watch it cuz we would be really scared but we watched it anyway and it was so funni. It is not one bit scary, now if u want a scary movie get friday the 13th now that is an awsum movie.
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Summary: Perhaps the greatest horror film ever made
Review: Because of its black and white photography, eiree music, imaginative horror scenes, and its killer cast, let's not forget about Alfred Hitchock, shall we. He invented horror, he was able to turn things that seemed so stupid into one of the scariest things you've ever scene. With the way people make horror films today, it's more disgusting than it is terrifying. Anthony Perkins practically owned the role, he was phenominal. PS, Don't close your eyes in the shower!
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