For when that friend asks you to introduce him to some really great films. This list is not meant to…
The master of suspense moves his cameras into the icy blackness of the unexplored!
When larcenous real estate clerk Marion Crane goes on the lam with a wad of cash and hopes of starting a new life, she ends up at the notorious Bates Motel, where manager Norman Bates cares for his housebound mother. The place seems quirky, but fine… until Marion decides to take a shower.
Alfred Hitchcock's tale of a semi socially awkward boy, a loving and caring mother, a family owned and operated motel, a thief who stole $40,000 of cold hard cash, and a steamy shower that forever changed cinema for the better. Post coitus pillow talk. Is Sam Loomis and Dr. Loomis the same person? The way Hitch gives the middle finger to the censorship codes. Janet Leigh purrs like a kitten and is one sexy vixen. Cowboy Hitch. Has there ever been a scene in a Hitch film that Patricia Hitchcock didn't steal? Pills make you feel better. Watching Janet Leigh dress is exciting. You gotta love the musical score. It's super freaky in a super fun way. Creepy cop. Cheap…
Immortal for its contribution to cinema, notorious for pushing the boundary of what's accepted in mainstream movies & setting an extremely high benchmark for horror films to follow, Alfred Hitchcock's Psycho remains the most influential, successful & famous work of his legendary career and is rightfully hailed as one of the greatest achievements in the history of filmmaking.
The story of Psycho concerns Marion Crane; a secretary working at a real estate office who is entrusted with $40,000 in cash to be deposited in the bank but ends up absconding with it in order to start a new life. Caught in heavy rain & tired after a long drive, she pulls over to spend the night at Bates Motel whose owner-manager seems to…
Felt even more apocalyptic on the big screen, especially in regards to the nighttime photography and the seemingly desperate speed of the clouds behind the Bates' residence. Flawless in every regard, and its calm demeanor towards visceral terror never fails to send chills down my spine. In particular, a conversation between Norman and his mother, heard from outside the bedroom door, is a perfect fit for Hitchcock's voyeuristic eye and his love for tranquil long-takes.
This review may contain spoilers. I can handle the truth.
There's way too much movie here for the little free time I have to write these things, and I had a very special experience watching this, so I'm going full anecdote with this review.
We brought a new friend to our October Horrorfest screening today. He was a horror newbie. He was a man who not only hadn't seen Psycho, he didn't even know what it was about. He knew it was a well regarded early horror movie, and that was it.
He didn't know how charming and charismatic Norman Bates is.
He didn't know Marion Crane dies 40 minutes in.
And he didn't know Norman Bates did it.
His jaw hit the floor when Lila Crane discovered Norman's mother's…
After being tormented by two recent awful modern horror productions ( Turd no.1 and Turd no.2) I felt the urge to go back to horror's humble beginnings and more often than not I end up with Hitchock's timeless masterpiece.
One of the most disgusting serial killers that ever lived was Edward Gein. Robert Bloch wrote the novel 'Psycho' and based his Norman Bates on Gein, focusing not so much on his murders but more on his bizarre relationship with his mother. This novel was subsequently turned into a screenplay and handed to Hitchcock who proceeded to turn it into one of the most influential and iconic horror films ever made.
I read the novel not so long ago and my…
I think I must have one of those faces you can't help believing.
It's quite fascinating how we have no difficulty in transferring our empathy from Janet Leigh's Marion Crane to the nervous young Norman Bates portrayed by Anthony Perkins after the turning point. There's almost no difficulty in seeing him as the protagonist, even as you watch him clean up a terrible mess with practiced ease. I was startled to find myself actually hoping that he wouldn't miss a spot and later get caught.
It's all an excellent example of how to create protagonists that are easy to sympathize with regardless of their lives. I mean, Marion Crane must have been shocking back when Psycho was first released -…
This will be our Movie from the Crypt pick for episode 14 of It's Only a Podcast. My wife will be a guest in that episode and she'll share her thoughts after just having seen this film for the first time.
The Princeton Garden Theater is a treasure.
For a film made in 1960, it still managed to creep me out. A real classic, not just for horror fans but for those who like great films!
Great film. An actual "must-watch" for me. And don't fuss about stuff that's outdated. There's always gonna be outdated stuff in the movies. Get used to it.
It doesn't hold up very well in terms of production value, shocks and scares but what it lacks in those departments it makes up for with excellent performances from the cast (including Anthony Perkins and Janet Leigh) and a magnificent moody score by Bernard Herrmann.
Not one of Alfred Hitchcock's best films (or best displays of cinematagraphy) but it isn't a bad film by any means.
Hitchcock, master of intentionality, doesn't waste a single shot throughout this film. In my opinion, Psycho is not the best work in Hitch's magnificent filmography but it is the most well-known for a reason. When you talk about a stripped down and flawless piece of filmmaking, one can name very few movies that are on this level. It picks its moments well and undoubtedly delivers (i.e. the murder scenes, the final shot, the stuffed bird dialogue, etc.). Hermann's score is on point as well. This film was released in black and white well after the tide had shifted towards color but the choice to shoot in monochrome actually bolsters the viewing experience by allowing sublime play between dark and light.
Great horror film. Wonderful mystery just brilliant .
Seems like a nice dude.
This review may contain spoilers. I can handle the truth.
It's funny to see so many reviews of this classic marked for spoilers because the shower murder scene of Marion Crane is perhaps the most prominent example of film being embedded into the cultural psyche - and then parodied and mimicked so much that it birthed an entire new genre. It is Hitchcock's greatest use of montage - each cut as an assault on the audience's senses, each as another slash of the knife to Crane's dripping, screaming face. Eisenstein's theory means we do not actually see knife ever puncture flesh, but the separate images creates a merged meaning. And would it be half as iconic without Bernard Herrmann's contribution? The screeching strings are built up apprehensively before the pivotal…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…