by Steve Habrat
Here we are, boys and ghouls! We have made it to my top 10 scariest movies of all time. I hope I have introduced you to a few horror movies you haven’t seen or heard of and tackled a few of your favorites as well. So without further ado, these are my top 10 favorite horror films that have curdled my blood, given me goose bumps, made me a little uneasy to turn out my bedside lamp at night, and made me consider shutting the films off.
10.) The Evil Dead (1981)
The ultimate sleepover horror flick! With a budget barely over $375,000 and a handful of no name actors, first time director Sam Raimi tore onto the directorial scene with The Evil Dead, a gruesome little supernatural horror film that follows a group of teens as the travel to a cabin in the woods for a weekend of drinking a few beers and hooking up. Once secluded in the cabin, they stumble upon a book called, naturally, The Book of the Dead, and they, of course, read from it. The book just so happens to release an ancient force that possess all who stand in its way, turning the teens into bloodthirsty, demonic zombies. Stopping to consider the budget, the special effects here are a true marvel, even if they are dated and the sound effects will give your goose bumps more goose bumps. While Evil Dead II: Dead by Dawn and Army of Darkness descended into campville one of the most amazing parts of The Evil Dead is the fact that it refuses to offer any comedic relief. The most grueling aspect of the film is that by the end, our hero Ash has to face the terror all by his lonesome. Absolutely unyielding once it gets moving and savagely in-your-face, The Evil Dead will without question fry your nerves.
9.) Suspira (1977)
Italian director Dario Argento created perhaps one of the most visually striking horror films to date. Suspira is scary decked out in bright neon colors. Following a young American woman who is accepted to a prestigious ballet school in Europe where it may or may not be under the control of witches is the real deal. The film begins with easily one of the most intense murder sequences ever filmed and it should almost be criminal with how well Argento builds tension and suspense within it. While mostly scaring you through supernatural occurrences and basically becoming a mystery film, Suspira leaves its mark with images that sear in well-lit rooms. Nothing ever happens in the dark in this film, and usually its what we do not see that is the scariest. And to deny the fact that this film is a breath of fresh air to the horror genre would be utterly absurd. The best advice I can give is just wait until the end of the film. You will be left pinned to your seat.
8.) Psycho (1960)
When it comes to unforgettable movie monsters, give me Norman Bates over Freddy or Jason any day. Everyone is familiar with what is perhaps the most famous and scariest of all of Alfred Hitchcock’s films, this film literally could be the closest to perfect that any motion picture will get. The score is unforgettable. It breaks the rules by killing off its main star in the first forty minutes. It keeps you guessing until the very end. It WILL terrify you by its sudden outbursts of brutal violence. And seriously, who is not familiar with the shower sequence? Still not convinced? See it simply for Anthony Perkin’s performance as mama’s boy Norman Bates. I guarantee he will find his way into your nightmares. Remarkably, the film lacks all the crows’ feet of aging as it still manages to be one of the scariest horror of personality films to date. While it was needlessly remade in 1998 to disappoint results, the original is a true classic in literally every way. Psycho breaks all the rules of horror, and leaves the viewer disoriented and wowed all at once.
7.) Straw Dogs (1971)
Never heard of Sam Peckinpah’s 1971 home invasion film Straw Dogs? Well, you have now and you have no excuse not to see it. As an added bonus, it stars Dustin Hoffman! I noticed that on many of your favorite horror films that you have sent me, you listed the 2008 film The Strangers. While The Strangers is creepy, Straw Dogs is flat out gritty, unrepentant viciousness. A nerdy math professor and his wife move out to the British countryside where they are looking to enjoy a simple life of peace and quite. Their pursuit of happiness falls short when the couple becomes the victims to bullying by the locals. The bullying soon boils up to a vicious rape and an attack on the couple’s home that leads to one hell of a nail-bitting standoff. Many consider it a thriller, but this is flat out horror in my book. The film becomes an exploration of the violence in all of us. Yes, even the ones we least expect. We never see the violence coming from the mild mannered math teacher. Even worse, it leaves us with the unshakeable notion that this horrendous violence lurks in all of us. Another great quality of the film is the fact that it will spark conversations after viewing it. What would you do in that situation? Would you allow yourself to be the victim or would you stand up and fight for what is yours? Sound simple? Straw Dogs is far from simple. It will etch itself into your mind.
6.) Nosferatu the Vampyre (1979)
Nosferatu is on here twice?!?! Sort of. Nosferatu indeed deserves its place among the greats but Werner Herzog’s Nosferatu the Vampyre is without question the greatest vampire movie of all time. It drives a silver dagger right through the heart of all the vampire flicks out there (Take that Twilight!). Part remake, part valentine to F.W. Murnau, part Dracula; this is an undeniably sweeping horror film. Who would have believed that a slow motion image of a bat could make the hair on your arms stand up? Elegant and astonishing beautiful, one could recommend the film on the cinemamatogrphy alone. This interpretation of Nosferatu abandons the name Count Orlok and instead is Count Dracula. The appearance of Count Dracula is almost identical to Count Orlok but the rest plays out like Dracula. The film features what could be one of the most mesmerizing performances ever caught on film with Klaus Kinski’s interpretation of Count Dracula. He is at once heart breaking and threatening. The film’s apocalyptic images are spellbinding. The score is the stuff that nightmares are made of. The acting is top notch. The scares are slight and real. This is the scariest vampire movie ever and one of the most underrated horror movies ever made.
5.) The Texas Chainsaw Massacre (1974)
The glaring problem with the 2003 remake of this disturbing 1974 classic is that the 2003 remake was more concerned with being a sleek experience rather than a gritty and realistic slasher flick. The original Texas Chainsaw Massacre does a fantastic job making you feel the Texas heat, as this movie is an absolute scorcher. On top of that, the film uses surprisingly little gore and still manages to gross you out to the point of you seriously considering becoming a vegan. What makes the film so traumatic is the fact that it does not only contain one monster, it has several. There is basically no escape from the dreaded, chainsaw wielding Leatherface and his merry band of cannibals. The film also throws another monkey wrench into the equation: one of the main characters is in a wheelchair. Yikes! The final chase of the film seems like it was ripped right out of an old newsreel and it has such a realistic tone that the atmosphere actually overrides the horrific murders. I recently read a quote from Stephen King about his favorite horror films and I have to admit that I heavily agree with him. He says “One thing that seems clear to me, looking back at the ten or a dozen films that truly scared me, is that most really good horror films are low-budget affairs with special effects cooked up in someone’s basement or garage.” If this quote applies to any horror film, it would be Tobe Hooper’s The Texas Chainsaw Massacre. Amen, Mr. King!
4.) The Shining (1980)
As far as supernatural horror movies are concerned, Stanley Kubrick’s version of the Stephen King book The Shining is the first and last word in haunted house movies. Combining hallucinatory images, a mind-bending story, and a horror of personality all into one Frankenstein’s monster of a film. Kubrick tops it all of with a big bloody bow. Jack Nicholson is at his bat-shit crazy best as Jack Torrence, a seemingly normal writer who, along with his family, are employed as the winter caretakers at the secluded Overlook Hotel. With the hotel cutoff from customers, the ghosts start coming out to play. They posses Jack’s young son Danny (REDRUM!). They torment Jack to the point where he grabs an axe and goes on a killing spree. If you have not seen this, see it just on the grounds of Jack Nicholson’s outstanding portrayal of a man slipping into homicidal madness. It is probably one of the most epic horror movies I’ve ever seen, and one of the most visually jarring. I really do not think there is anything creepier than twin girls standing in the center of a long hallway and inviting Danny to “come play with” them. The Shining leaves the viewer to figure it all out at the end. But damn does it end with some blood soaked fireworks.
3.) Dawn of the Dead (1978)
George Romero’s follow up to his 1968 zombie freak out wears the king’s crown in the land of zombie movies. This one has it all, folks. It’s dismal, gory beyond anything you could ever imagine, intelligent, shocking, and freaky as all hell. Picking up right where Night of the Living Dead left off, we are thrust into a world of chaos. I will warn you that the first half hour or so of the film is so overwhelming; you may need to take an intermission after it just to gather yourself. Romero is launching an all out assault on the viewer, testing them to see how much they are able to take. But he hasn’t even gotten going yet. Hell, the opening is actually tame compared to the gut-wrenching climax. Romero does lighten the mood a little in places because the film would be unbearable if he never did. The plot centers on four survivors who flee from war-torn Pittsburgh to an indoor shopping mall to escape the panic that has seized hold of America. This panic, of course, comes in the wake of the dead returning to life and eating the flesh of the living. They live like kings and queens in the land of consumerism, which also leads to their ultimate downfall. Greed takes hold and soon the army of zombies gathering outside is the least of their concerns. Featuring some of the most heart stopping violence to ever be thought up and some truly tense moments, Dawn of the Dead may actually cause you to have a heart attack or, at the very least, a panic attack.
2.) Hellraiser (1987)
If demonic horror scares you, then you are going to want to stay far, far away from Clive Baker’s Hellraiser. What sights the soul ripping Cenobites have to show you. What ghastly sights indeed. Bursting at the seams with some of the most unsettling images that any horror film has to offer, Hellraiser simply has it all. It has monsters for the monster crowd. It shows glimmers of the slasher genre. It satisfies the gore hounds thirst for blood. It offers up a wickedly original storyline. Following a man who ends up possessing a box that can expose you to the greatest pleasures imaginable is a pretty unnerving experience. There’s a dead guy in the attic that an unfaithful wife has to provide with male bodies so he can regenerate. There are four time traveling demons that rip apart their victims with chains. A daughter is desperately trying to unravel her father’s death. Did I mention it has lots and lots of monsters? The best part of seeing the first film in the Hellraiser series is that you get to see the Cenobites, who could very well be some of the creepiest antagonists that have ever haunted a horror film. They slink through the shadows and send icy chills up your spine. When Pinhead, or “Lead Cenobite” proclaims that they are “Angels to some and demons to others”, he is not kidding. Are they the four horsemen of the apocalypse, given the films left-field apocalyptic ending? Could be. Undeniably vicious and oddly hypnotic, the film will scare the living daylights out of you and replace those daylights with the darkness of Hell.
1.) Henry: Portrait of a Serial Killer (1986)
During the class that I took on the horror genre in college, we discussed that the scariest movies of all are the ones that posse an unwavering realism. I seriously think that Henry: Portrait of a Serial Killer is the embodiment of this argument. Raw, powerful, disturbing, and a searing knock out, this is without question the most terrifying film I have ever seen. You will be locking your doors and possibly adding another lock for extra good measure. The plot of the film centers on Henry who is soft-spoken exterminator who also happens to be a serial killer. Henry happens to be staying with his friend Otis, who is currently on probation and works at a gas station and also sells pot on the side. Otis has also allowed his sister Becky, who is a stripper looking for a new start in Chicago, to shack up with the two bachleors. Soon, Otis learns of Henry’s grotesque hobby and quickly decides he wants in. Henry takes him under his devil wings and the two descend into the night to prey on innocent victims. The uncanny, fly-on-the-wall vérité approach elevates the film to the territory of the unbearable. Every explosive murder is chillingly real. Every line of sadistic dialogue is muttered in a disconnected tone. The film also chills you to the bone because there is never a character to truly root for, a character to take comfort in. The closest we get to a hero is Becky, but mostly because we fear for her safety. We know she is incapable of stopping the maniacs. While the violence will shock you, and trust me it is some absolutely grisly stuff, the fear of the violence and unpredictability of it all will wear away and you will be left with the fear that this could actually happen. There are actually people out there who could be capable of doing this, and I could be next if I just so happen to be in the wrong place at the wrong time. Henry: Portrait of a Serial Killer is a masterpiece of the horror genre and it will leave you thinking about it for weeks.
I hope all of our readers out there have enjoyed our 31 days of Halloween special- Anti-Film School’s Halloween Horror Movie Spooktacular- and will come back next year for more horror, thrills, and chills. I have personally had a blast doing this as Halloween is my favorite holiday and has been since I was in a diaper. Enjoy the next few days of horror movie posts and the review our readers chose. Have a terrifying Halloween, boys and ghouls! I know I will.
by Charles Beall
There is a little-known (and thankfully little-seen) TV-movie/pilot based on the Psycho franchise called Bates Motel. This was to be an anthology-type series, much like The Twilight Zone, with plot lines revolving around the guests who check into a refurbished Bates Motel for the night. The movie aired on NBC in 1987 and thankfully was never picked up for series.
This movie is BAD. No, I take that back- “bad” would be a compliment. This movie is UNWATCHABLE. Yes, I know I have said I like to give movies a fair shake but this one does not deserve it. The plot revolves around a freakshow named Alex (Bud Court) who inherits the Bates Motel from his friend in the asylum, Norman Bates. When he is released, Alex wants to reopen his friend’s motel and help rebuild its image. How noble! With the help of a sincerely fucking annoying tomboy named Willie (Lori Petty), Alex proceeds to reopen the Bates Motel, but, Mrs. Bates (who is now named Gloria! WTF?!) will have none of that. So, “scary” shit happens, the motel is reopened, a girl tries to kill herself in the bathtub, blah, blah, blah.
As I stated, this movie is unwatchable. Sincerely, this is a horrible, horrible movie that doesn’t even deserve to be aired on midnight television. It doesn’t even deserve to be called campy- you have to earn that. This movie does not deserve to exist; it is lazy, stupid, and an insult to the brand of Psycho. You can check it out on YouTube if you’d like, but be aware, this is 90 minutes of your life that you will sincerely be pissed you wasted.
I’ll leave the last word to Anthony Perkins (from the excellent documentary The Psycho Legacy)…
by Charles Beall
There is a good movie in Psycho IV: The Beginning that is dying to get out, yet never does. The premise (for the fourth film in a series) is promising: what was life with Mother like? The problem is that there is a lot of good material here, but the film is so campy that you can’t take it seriously.
It is interesting to look at the progression of the story of Norman Bates through the Psycho series. We know that the original Psycho is a more “serious” film“ (albeit with a lot of dark humor), as is Psycho II, and to an extent, Psycho III, but this installment walks a fine line of seriousness and camp, falling into the latter category. This is a shame, because with Psycho IV, we have a screenplay by Psycho’s original screenwriter Joseph Stefano, another spirited performance from Anthony Perkins, and enthusiastic direction from Mick Garris. What went wrong?
The film starts off with a solid concept. Late night radio host Fran Ambrose (the amazing and underrated CCH Pounder) has a show dealing with boys who kill their mothers, and of course, a now married and “rehabilitated” Norman Bates calls in. This is an instance where the movie flails between the serious and camp. There is potential and Pounder and Perkins take their roles seriously, yet the direction of Garris seems to take the performances to a campier level. Through his phone call, we meet Normans’s mother (the hot Olivia Hussey) through narratives about their life together, with young Norman played by Henry Thomas of E.T. fame. I give credit for Garris for choosing Hussey to play Mrs. Bates; she is gorgeous and not at all the image one would think of for Mrs. Bates. However, Hussey camps up her performance and I believe it is because of Garris’ direction.
That isn’t to say that Psycho IV isn’t well-made. The film is bursting with color, giving an idea of life back in the era at the time of the original film. But, much like Norman Bates himself, this film is at war with itself. It doesn’t know how to treat its material, and instead of being firmly on one path, the movie straddles the serious and the campy, leaving this viewer satisfied to an extent, but disappointed at what could’ve been.
Tomorrow…ugh, Gus van Sant’s Psycho remake. Although, this is a pretty sweet trailer.
by Charles Beall
Psycho III was a mandatory sequel, much like all the Halloweens, Friday the 13ths, and Nightmare on Elm Streets of the mid- to late-1980s. However, mandatory does not equate to necessary and Psycho III (as well as its predecessor) does not escape this label. However, if we are going to have it, we might as well make it a good one and I believe that there was one person who had this belief: Anthony Perkins.
As I stated in my review yesterday, Psycho II wasn’t entirely a bad movie, per se, but an uneven one. So when the call to Tony Perkins came from Universal about the plans for another installment of Psycho, I believe he thought that it should be done right this time around. And who better to direct a film such as this than Norman Bates himself? The end result is actually a film that stands on its own (albeit in the shadow of the original) and I feel the credit is all due to the direction of Perkins.
What we have in Psycho III is an amateurish, yet brave film that attempts to stand above the crop of slasher sequels it is a member of. The film picks up about a month after the events in Psycho II, but even before we get into the mundane and quiet existence of Norman Bates, we are treated to an interesting prologue. In fact, Norman Bates doesn’t show up until about fifteen minutes into this 90-minute film. Over a black screen, we hear the words, “there is no God!” screamed out by a distressed nun named Maureen (Diana Scarwid). She is kicked out of the convent after a Vertigo-esque incident and hitchhikes with a guy named Duke (Jeff Fahey), with the two of them (via separate means) eventually ending up at the Bates Motel. Also thrown into the mix is a pesky reporter (a poorly-written part played too over-the-top by Roberta Maxwell) who is on to Norman and the suspicious occurrences that happened in Psycho II. Again, like its predecessor, Psycho III has a handful of main characters that drive the film’s story and underlying themes without being too overbearing.
An interesting theme that is, I believe, the main drive of this film is the theme of redemption. Maureen is trying to redeem herself after the events at the beginning of the film and Norman is trying to redeem himself from everything he has become. They are both trapped in their lives, and much like the connection Norman had to Marion in the original, he has one with Maureen and what is unique about Psycho III is that it expands on the human connection we saw between Norman and Marion. Norman realizes this connection and tries oh-so-hard to develop it and break free, but, alas, someone is holding him back…
Yes there is gore because this is the mid-80s and a horror film is not allowed to not have it. Yet one may be surprised about how tame Psycho III is and how legitimate it tries to be as an exploration of the mind of Norman Bates. Those who are killed are not the main characters (at least in the run-up to the finale) but are rather filler for the demands of audiences who thirst for buckets of blood. Take out the murder scenes and what you have is, at its core, a psychological character study. As I stated earlier, Anthony Perkins is really the only one who knows Norman Bates, and much like his on-screen counterpart, it was hard for Perkins to break away from this typecast.
Psycho III is incredibly personal; Norman is wrestling with his identity and trying to break away from his past. However, he will always be Norman Bates. I believe Tony Perkins felt the same way and tried to convey his innermost feelings about playing Norman Bates through the character of Norman Bates. What comes to mind when you hear the name Anthony Perkins? Yep, Norman Bates. Both the actor and the character are trapped, for lack of a better term, with this persona and whatever they try to do, they can never break free.
The ending to Psycho III, while at face value is corny, is actually quite tragic. Norman cannot break free of Mother. Anthony Perkins can’t break free of Norman Bates. Norman is humanized in this film to an extent that we have never seen a villain in film played before. There is a force that has taken hold of him, but he just isn’t strong enough to break away, and when you think he has, Mother just shows up again.
Psycho III is the best of the Psycho sequels for the sheer fact that it was directed by, essentially, Norman Bates. Perkins feels for the dilemma Bates is in he because he too is typecast in the real world as the psychopath. This unique aspect is what makes Psycho III work regardless of its flaws (and there are quite a few). On the surface, it is seen as just another horror sequel, but deep down, it is actually a moving film about trying to break free of the demons that haunt us and the redemption that so many aspire to receive, but ultimately fail to achieve. All of the credit goes to Anthony Perkins who, unfortunately, did not direct another film; he was a legitimate talent behind the camera and it is unfortunate that he was unable to direct again. However, I hope that viewers delve into Psycho III and sincerely listen to what Perkins is trying to say. One may see a slasher film, whereas I see an autobiographical piece of a character and the actor who plays him.
Tomorrow, we milk the Psycho franchise even more with the made-for-TV film Psycho IV: The Beginning to find out what Mother was really like (she was actually kind of hot!)
by Charles Beall
One must approach 1983’s Psycho II with an open mind. That is, there will never be a worthy follow-up to Psycho; that film exists and there is nothing that can top it. However, one can wonder what Norman Bates has been up to since his dirty little secret was discovered and that is precisely what Psycho II attempts to accomplish.
The film was released in 1983, a decade wrought with slasher films. Indeed, Psycho II arrives right at the tail end of the beginning of the gore decade and you can see it trying oh-so-hard not to be a slasher movie (but more on that later). What we have here is a film that respects its predecessor, but also tries to break out of its shadow by imitating the film it is trying so hard not to be (but really, really wants to).
The film starts off with the original shower scene, easing into the main titles while looking at the famous Bates mansion. Totally pointless, if I do say so- if you’re trying to break away from the original, you don’t start off your film with one of the most iconic scenes in film history. The shower sequence serves no purpose to the audience. What image comes to you immediately when you hear Psycho? A shower? Precisely. One must trust the audience.
As the catchy tagline so cleverly states, it has been 22 years since Norman Bates was incarcerated and we are witnessing his parole hearing as Psycho II truly opens. Bates (awkwardly played again by the legendary Anthony Perkins) has been deemed “restored to sanity” by the State of California and he is hereby released. “But what about his victims, don’t they have any say?” asks Lila Loomis (played by a deliciously bland Vera Miles), presenting a petition to the courts against his release. Her argument doesn’t hold up, and boy is she angry!
Norman is escorted back to his house on the hill by his psychiatrist (Robert Loggia), where he is immediately haunted by, you guessed it, Mama Bates. As part of his release, Norman is now employed at the diner down the road (the one Norman suggest Marion go to on that stormy night?) as a cook’s assistant. There he meets a waitress named Mary (an annoying Meg Tilly) whom he strikes up a friendship with. After a falling out with her boyfriend, Norman invites her to stay at his motel for the night, free of charge. She reluctantly agrees and walks home with Norman, eventually ending up spending the night in the house after Norman gets into a fight with the motel manager (an awesome Dennis Franz) that has been keeping an eye on the place.
This is the basic setup of Psycho II and it is one of the reasons why it works- to an extent. We are focused on a core group of characters, and there are really only two for the bulk of the film, Norman and Mary. The premise is promising, as Norman begins to receive calls from Mother and he slowly feels that he is losing his grip on reality. Mary attempts to be his rock (or pretends to attempt to), which brings a more human aspect to Norman than we have ever seen before. Perkins is such a brilliant actor, and even though some of the dialogue written for him is weak, he tries his best to humanize Norman in a way that hasn’t been seen before. The slow pacing of the film allows the character to develop even more, drawing the audience into the conflicted mind of Norman Bates. Then, of course, there is the twist that is a bit obvious, yet still clever for a film such as this (a sequel to a classic horror film).
Unfortunately, the film begins to unravel in the final act and the bodies begin to pile up as demanded by the 80s “horror” genre. Then, something totally comes out of left field, something so absurd that it nearly brings down the entire film (but obviously sets it up for Part III).
Psycho II is indeed admirable. Its intentions are of the purest form; director Richard Franklin respects the source material and tries his best to make it a solid mystery/psychological thriller like its predecessor. However, the ending to the film seems tagged on at the last minute and brings down everything the film was so sincerely trying to attempt.
Psycho II is not a worthy follow-up to the original Psycho– there will never be a film that can accomplish that. However, if you throw all of your preconceived notions aside and give it an honest chance, you will be pleasantly surprised if not disappointed at what could have been.
Grade: C+ (but an “A” for effort!)
Tomorrow, Norman Bates is back to normal, but mother is off her rocker…again. Check in, relax, and take a shower with the directorial debut of Anthony Perkins, Psycho III.
Psycho: A Love Letter
by Charles Beall
How do you review Psycho?
If you are any kind of film lover, you have seen it. There isn’t any basis of film criticism, film admiration, or film anything where Psycho is not part of our subconscious. Psycho is as much American art as any painting from the hand of an American artist (yes, Hitchcock was British, but he was both a British and American filmmaker).
In his fantastic book, Alfred Hitchcock and the making of ‘Psycho’, author Stephen Rebello writes that the “working-stiffs milieu, two shocking murders, a twist finale peppered with transvestism, incest, and necrophilia [were] catnip to a man who fancied himself a connoisseur of abnormal psychology;” indeed, the plight of the characters is what drew Hitch to make Robert Bloch’s novel into a film. After all, isn’t it the characters that we remember most from this landmark film? Marion, Norman, “Mother,” and indeed, the Bates Motel and the house on the hill- these characters haunt our psyche (or at least mine).
Psycho is one of my all-time favorite films for many reasons. I remember my first time (don’t we all?) seeing this film. It was on AMC (when they actually showed good movies, but before they made the awesomeness that is Mad Men and Breaking Bad) and I was skeptical going into it. I was a budding Hitchcock fan, the only movies of his I had seen were The Birds and Vertigo (needless to say, at the time, I wasn’t a fan of the latter) and I had read that Psycho was his masterpiece. I sat down, eagerly awaiting the start of the film. Hitch had me at the titles.
We know how the story progresses, but to sum it all up, Psycho was originally Marion’s story, not Norman’s. The brilliance of the switcheroo is what has had me hooked for so many years. In a way, I became obsessed with Norman Bates- what an amazing character! But really, he is two characters warring inside the mind, and in the end, the “dominant” one prevails.
This war is brilliant portrayed by Anthony Perkins, who gives one of the greatest performances ever captured on celluloid. We see a sympathetic, fidgety young man who we feel pity for, even though we know he is a psychopath. But how did he get that way? Is he a good person corrupted by a force so overwhelmingly evil that there is nothing he can do to stop it? This week, I will be reviewing the Psycho film series while making a special emphasis on Norman Bates and his evolution to sanity (or insanity?).
The question I placed before you at the beginning is indeed rhetorical. How do you review Psycho? I know I can’t because it has all been said before. But this week you will find out my love and admiration for the Psycho series and this amazing character of both film and American folklore, Norman Bates.
Psycho grade: A+ (duh)
Tomorrow, it’s 22 years later, and Norman Bates is coming home…