4.5/5 - Norman Bates, man... what a monument of a character! Written and played with a totally modern style, having such a degree nuance and precision that makes him stick out even more as a totally anomalous in the midst of the neo-noir horror that surrounds him. About Hitchcock's direction, there isn't much one can say that hasn't already been preached to the choir. In one word: Timeless!
3.7 stars. I don't enjoy 'Psycho' quite as much as I should like to, mostly due to the terrible explanatory coda and the ludicrous shot upon the stairs - both of which utterly take me out of the film. However, much of it displays such mastery and the score in particular is so influential and riveting, I would be loathe to make a deal out of my personal peeves. It's certainly a film that once seen, never forgotten.
Nothing revolutionary, but a good old fashioned thriller of the best kind. The score is legendary, the mise-en-scene rich, and the cinematography is pulpy and contrast heavy. Bar a few moments of faux-psychology and cringe worthy acting that have not aged well, there is nothing to dislike about this film. It's well paced and easy to enjoy. A great entry level film for people interested in the art.
I’m not going to argue that this is anything less than a masterpiece, but it’s far from my favorite Hitchcock for the second half. The frigid Miles and dull Gavin just can’t match the electricity Hitch caught between Leigh and Perkins, and though the film ends with some classic moments, the narrative is slack and the denouement is sullied by that almost unbearably pedantic psychiatrist. Still, the highs are seminal.
The first and best slasher movie that ever was made. It started a genre on it's own. A film that reminds me of a time when movies still could surprise and scare people without tending to cheap gore scenes or violent "in your face" scare moments. See the original and best and be surprised how well it still holds up. Everything else in this genre is still inferior copies.
Placed in the annals of cinema's history, this remarkably prescient film about the weight of the world as the oppressive 'debt' owned to the mother, is masterfully transformed into entertainment of first order, stretching its psychoanalytical asumen to a sharp critique of US idols: the automobile, the blonde and money. Metonymically still resonant this filmic matricide of cinema's paranoia is unsettling and profound.
I was able to see the Psycho (1960) finally! The tense was in another level when I focused to Marion. And then the famous shower scene was showed at the middle of the movie. It looked more cruel because of black and white film. I was able to expect how the ending is gonna be, but I cannot forget the eyes and quotes. I think a lot of people might be frightened after seen this movie.