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Tobin Bell recommended Psycho (1960) in Movies (curated)
Awix (3310 KP) rated The Vikings (1958) in Movies
Apr 15, 2020
Slim-line Hollywood epic is strong on rousing action, less so on historical authenticity. Separated-long-before-birth siblings Kirk Douglas and Tony Curtis rip chunks out of each other while drinking, raiding, pillaging and taking an interest in Janet Leigh.
Basically the silliest sort of Hollywood camp, with dialogue like 'Love and hate are two horns on the same goat!', but the photography and score do occasionally combine to produce something rather stirring. It occasionally has a rather harder, darker edge than you'd expect (there's quite a lot of mutilation in the script), but not that much more than Ben Hur. The combined wattage of the various stars keeps it watchably entertaining.
Basically the silliest sort of Hollywood camp, with dialogue like 'Love and hate are two horns on the same goat!', but the photography and score do occasionally combine to produce something rather stirring. It occasionally has a rather harder, darker edge than you'd expect (there's quite a lot of mutilation in the script), but not that much more than Ben Hur. The combined wattage of the various stars keeps it watchably entertaining.
Andy K (10821 KP) rated The Fog (1980) in Movies
Oct 20, 2018
Classic Carpenter!
Director John Carpenter had a lot to live up to and deliver after his striking masterpiece Halloween. He decided to tell an old school ghost story about a coastal town in northern California which is cursed and subject to a mysterious "Fog" which rolls into town and carries ghoulies within its misty depths.
Not as well known or remembered as some other Carpenter works, The Fog still delivers some creepy scares and gruesome death scenes reminiscent of other Carpenter films.
Great cast of vintage horror icons like Janie Lee Curtis, Janet Leigh and Adrienne Barbeau make the story more enjoyable and believable.
The film shows its age in parts, but is still an enjoyable horror classic.
Not as well known or remembered as some other Carpenter works, The Fog still delivers some creepy scares and gruesome death scenes reminiscent of other Carpenter films.
Great cast of vintage horror icons like Janie Lee Curtis, Janet Leigh and Adrienne Barbeau make the story more enjoyable and believable.
The film shows its age in parts, but is still an enjoyable horror classic.
Awix (3310 KP) rated Hello Down There (1969) in Movies
May 10, 2020
The only performer to appear in three of the AFI's Hundred Greatest Films of All Time is Janet Leigh, which is quite an achievement, but she also turns up in a load of absolute dross, like this borderline-unwatchable musical comedy adventure about a family spending a month in an underwater house. Tony Randall is there for the older viewers; there are some swinging kids for the younger audience (a young Richard Dreyfuss keeps singing songs about goldfish); low-octane underwater thrills are occasionally attempted.
The list of people involved in this movie might lead one to expect something at least mildly interesting: Jack Arnold made many interesting SF B-movies, one of which (Creature from the Black Lagoon) featured co-director Browning in the title role; the cast list includes Randall, Leigh, Dreyfuss, and Roddy McDowell. And yet it feels almost aggressively anodyne and bland, horribly calculated, and made to TV-standard production values. Even when it was made this probably only appealed to the most undemanding viewers; nowadays it exerts a weird fascination if only as a relic of an unrecognisable sensibility.
The list of people involved in this movie might lead one to expect something at least mildly interesting: Jack Arnold made many interesting SF B-movies, one of which (Creature from the Black Lagoon) featured co-director Browning in the title role; the cast list includes Randall, Leigh, Dreyfuss, and Roddy McDowell. And yet it feels almost aggressively anodyne and bland, horribly calculated, and made to TV-standard production values. Even when it was made this probably only appealed to the most undemanding viewers; nowadays it exerts a weird fascination if only as a relic of an unrecognisable sensibility.
BankofMarquis (1832 KP) rated Psycho (1960) in Movies
Oct 29, 2018
An all-time great performance by Anthony Perkins
I'm sure all of you have (at least) heard of the 1960 Alfred Hitchcock film, PSYCHO. And I'm sure most of you have seen (at least in part) the famous "shower scene". But when was the last time you really sat down and watched this film? It had been awhile for me and I walked away with the following impression:
PSYCHO is not all that scary, but it is suspenseful as heck with strong Direction by the "Master of Suspense" and very strong performances anchoring the front and back end of the film.
PSYCHO was billed when it came out as a "Janet Leigh Film". So, to give this review context, let's look at who Janet Leigh was at the time. Before shooting PSYCHO, Leigh was generally cast as the ingenue and/or love interest in mainstream fair such as LITTLE WOMEN, ANGELS IN THE OUTFIELD and HOUDINI (a modern "comp" to her might be someone like Anne Hathaway before she started doing "edgier" work). Leigh did show that there was more to her than just being an ingenue when she played the morally ambiguous wife of Charlton Heston's character in Orson Welles' TOUCH OF EVIL. This film (probably) gave Hitchcock the idea to cast Leigh in PSYCHO.
When 1960's audiences first saw Leigh on screen in PSYCHO, I'm sure that most of them were shocked for, instead of being the pure and wholesome ingenue and wife, she plays the entire first scene in a bra and slip. Her character, Marion Crane, is not morally ambiguous, she is morally corrupt - and when Leigh's character has a chance to act on her moral corruptness, she jumps at the chance. The rest of the first half of this film is Leigh trying to get away with her "crime". She is quite good in this part of the film and was nominated for an Oscar for Best Supporting Actress (deservedly so).
And then...Anthony Perkins shows up.
We are about 45 minutes into the 1 hour and 49 minute film when Perkins' Norman Bates first appears on screen and an interesting thing happened - I couldn't take my eyes off of him. I was enjoying Leigh's performance but instantly pushed her aside (and to the background) when Perkins shows up. Without giving plot away, let me say that there is much, much going behind Norman's eyes and the performance by Perkins strongly suggests this, without going over-the-top or being melodramatic. It is a perfect blend of actor, character and performance and I was shocked that he was not even NOMINATED for an Oscar (Peter Ustinov would win for SPARTACUS). Perkins performance is one of the all-time greats with one of the most interesting and unusual characters - and portrayals - of all time.
Much of the credit for Perkins' and Leigh's strong performances have to go to Director Hitchcock who was at the height of his Directing powers (and power). From the "get go", you can feel the Director's hand in this film, building suspense from scene to scene and shot to shot, first with Leigh's character and, later, with Perkins. Both characters are trying to get away with something and Hitchcock pulls his camera in close to make a point - from a distance all seems good, but when you get up close, you can tell that things are very bad, indeed.
The filming of the famous "shower scene" is well documented and is a Master Class in film and editing. It is worth the price of admission on it's own - as is a scene on a staircase with Private Detective Arbogast, played by Martin Balsam. Hitchcock chooses to heighten the realism in this scene on the staircase by going a more esoteric route (rather than traditional filming of the events) and, one can argue, it doesn't belong in this film. Until, that is, you think about it and then it makes great sense and absolutely, positively has to be in this film in that way.
Another aspect of this film that begs to be mentioned is the Film Score by the great Bernard Herrmann - Hitchcock's regular collaborator. The music in this film punctuates the action on the screen - from the persistent beat and pacing of the opening credits music - driving the audience forward into the action - that does not let go, reaching it's peak and crescendo in the shower scene and then floating down gently like an animal catching it's breath after great activity.
Does the entire film hold up almost 60 years later? Almost...but not quite. Most annoying to me was the "wrap-up" scene at the end where a character spells out everything for the audience. As if we are not smart enough to "get it" - and perhaps the audiences in 1960 weren't.
But that is a quibble for a film that is a classic and is one that, if you have not seen (or seen for awhile), begs to be seen. Check out this film, not for the scares, but rather, the suspense that is generated by Hitchcock and his performers throughout. A GREAT entree into the world of Alfred Hitchcock films.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank (ofMarquis)
PSYCHO is not all that scary, but it is suspenseful as heck with strong Direction by the "Master of Suspense" and very strong performances anchoring the front and back end of the film.
PSYCHO was billed when it came out as a "Janet Leigh Film". So, to give this review context, let's look at who Janet Leigh was at the time. Before shooting PSYCHO, Leigh was generally cast as the ingenue and/or love interest in mainstream fair such as LITTLE WOMEN, ANGELS IN THE OUTFIELD and HOUDINI (a modern "comp" to her might be someone like Anne Hathaway before she started doing "edgier" work). Leigh did show that there was more to her than just being an ingenue when she played the morally ambiguous wife of Charlton Heston's character in Orson Welles' TOUCH OF EVIL. This film (probably) gave Hitchcock the idea to cast Leigh in PSYCHO.
When 1960's audiences first saw Leigh on screen in PSYCHO, I'm sure that most of them were shocked for, instead of being the pure and wholesome ingenue and wife, she plays the entire first scene in a bra and slip. Her character, Marion Crane, is not morally ambiguous, she is morally corrupt - and when Leigh's character has a chance to act on her moral corruptness, she jumps at the chance. The rest of the first half of this film is Leigh trying to get away with her "crime". She is quite good in this part of the film and was nominated for an Oscar for Best Supporting Actress (deservedly so).
And then...Anthony Perkins shows up.
We are about 45 minutes into the 1 hour and 49 minute film when Perkins' Norman Bates first appears on screen and an interesting thing happened - I couldn't take my eyes off of him. I was enjoying Leigh's performance but instantly pushed her aside (and to the background) when Perkins shows up. Without giving plot away, let me say that there is much, much going behind Norman's eyes and the performance by Perkins strongly suggests this, without going over-the-top or being melodramatic. It is a perfect blend of actor, character and performance and I was shocked that he was not even NOMINATED for an Oscar (Peter Ustinov would win for SPARTACUS). Perkins performance is one of the all-time greats with one of the most interesting and unusual characters - and portrayals - of all time.
Much of the credit for Perkins' and Leigh's strong performances have to go to Director Hitchcock who was at the height of his Directing powers (and power). From the "get go", you can feel the Director's hand in this film, building suspense from scene to scene and shot to shot, first with Leigh's character and, later, with Perkins. Both characters are trying to get away with something and Hitchcock pulls his camera in close to make a point - from a distance all seems good, but when you get up close, you can tell that things are very bad, indeed.
The filming of the famous "shower scene" is well documented and is a Master Class in film and editing. It is worth the price of admission on it's own - as is a scene on a staircase with Private Detective Arbogast, played by Martin Balsam. Hitchcock chooses to heighten the realism in this scene on the staircase by going a more esoteric route (rather than traditional filming of the events) and, one can argue, it doesn't belong in this film. Until, that is, you think about it and then it makes great sense and absolutely, positively has to be in this film in that way.
Another aspect of this film that begs to be mentioned is the Film Score by the great Bernard Herrmann - Hitchcock's regular collaborator. The music in this film punctuates the action on the screen - from the persistent beat and pacing of the opening credits music - driving the audience forward into the action - that does not let go, reaching it's peak and crescendo in the shower scene and then floating down gently like an animal catching it's breath after great activity.
Does the entire film hold up almost 60 years later? Almost...but not quite. Most annoying to me was the "wrap-up" scene at the end where a character spells out everything for the audience. As if we are not smart enough to "get it" - and perhaps the audiences in 1960 weren't.
But that is a quibble for a film that is a classic and is one that, if you have not seen (or seen for awhile), begs to be seen. Check out this film, not for the scares, but rather, the suspense that is generated by Hitchcock and his performers throughout. A GREAT entree into the world of Alfred Hitchcock films.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank (ofMarquis)
KyleQ (267 KP) rated Halloween H20: 20 Years Later (1998) in Movies
Jul 19, 2020
A pretty meh reboot.
H20 finds Jamie Lee Curtis returning to the role of Laurie Strode. For 20 years she's been in hiding from Michael Myers, she's been staying at a college campus with her son John (Josh Hartnett), but Michael is hunting them down.
H20's plot is less weird than the last couple of outings in the franchise, but it still feels a bit silly. The movie opens up showing Michael Myers doing some investigation to find out where Laurie disappeared to, which it just so happens that the nurse from the original movie had in her house. It was kind of a dumb start, and it never fully recovers from it.
There were 3 different masks used, resulting in obvious differences from shot to shot. One mask was particularly terrible, it looked like a clown mask.
The movie does benefit from a decent supporting cast including the likes of Michelle Williams, LL Cool J, Adam Arkin, Joseph Gordon-Levitt, and even Janet Leigh.
Tonally, H20 is somewhat cheesy, it shouldn't be taken too seriously, though who would at this point in the series?
Halloween H20: 20 Years Later will entertain fans of the series and horror fans alike. But don't expect it to be anything especially good.
H20's plot is less weird than the last couple of outings in the franchise, but it still feels a bit silly. The movie opens up showing Michael Myers doing some investigation to find out where Laurie disappeared to, which it just so happens that the nurse from the original movie had in her house. It was kind of a dumb start, and it never fully recovers from it.
There were 3 different masks used, resulting in obvious differences from shot to shot. One mask was particularly terrible, it looked like a clown mask.
The movie does benefit from a decent supporting cast including the likes of Michelle Williams, LL Cool J, Adam Arkin, Joseph Gordon-Levitt, and even Janet Leigh.
Tonally, H20 is somewhat cheesy, it shouldn't be taken too seriously, though who would at this point in the series?
Halloween H20: 20 Years Later will entertain fans of the series and horror fans alike. But don't expect it to be anything especially good.
LeftSideCut (3778 KP) rated Psycho (1960) in Movies
Oct 4, 2020
Psycho is a true all-timer, in every sense of the phrase. It still holds up now, as well as it ever did and is simply a masterclass in suspense cinema.
Anthony Perkins is fantastic as Norman Bates. He makes the character both approachable and sinister, subtly suggesting just how unhinged he is as the narrative steams forward.
The pacing in Psycho is perfect, even before Marion Crane pulls into the Bates Motel. It successfully reels you in from the films opening (and incredible music score) and just doesn't let you until the end.
Marion Crane is of course played by Janet Leigh. She has a hypnotizing presence thought the runtime, with every line of dialogue feeling important. Her performance alongside Perkins is a huge part of what makes Psycho such a classic.
Hitchcock achieved some truly magnificent shots here as well. The infamous shower scene has rightly earned it's place in cinema history, but it's easy to forget just how chilling it is when you see a shadowy figure through the shower curtain, silently enter the room. True nightmare fuel. Another favourite moment is the overhead shot when Bates flys out of his mother's room to attack Arbogast. Makes me jump every damn time.
Bernard Herrmanns score compliments all of this wonderfully as well. It's a timeless score that is constantly frantic whilst simultaneously beautiful. Much like Jaws, it's almost impossible to think of the film without hearing parts of the iconic music theme.
Psycho is a solid masterpiece that remains effective to this day. It's the perfect thriller, and in some ways, the perfect horror.
Anthony Perkins is fantastic as Norman Bates. He makes the character both approachable and sinister, subtly suggesting just how unhinged he is as the narrative steams forward.
The pacing in Psycho is perfect, even before Marion Crane pulls into the Bates Motel. It successfully reels you in from the films opening (and incredible music score) and just doesn't let you until the end.
Marion Crane is of course played by Janet Leigh. She has a hypnotizing presence thought the runtime, with every line of dialogue feeling important. Her performance alongside Perkins is a huge part of what makes Psycho such a classic.
Hitchcock achieved some truly magnificent shots here as well. The infamous shower scene has rightly earned it's place in cinema history, but it's easy to forget just how chilling it is when you see a shadowy figure through the shower curtain, silently enter the room. True nightmare fuel. Another favourite moment is the overhead shot when Bates flys out of his mother's room to attack Arbogast. Makes me jump every damn time.
Bernard Herrmanns score compliments all of this wonderfully as well. It's a timeless score that is constantly frantic whilst simultaneously beautiful. Much like Jaws, it's almost impossible to think of the film without hearing parts of the iconic music theme.
Psycho is a solid masterpiece that remains effective to this day. It's the perfect thriller, and in some ways, the perfect horror.
Andy K (10821 KP) rated Psycho (1960) in Movies
Sep 30, 2019
Most Hollywood scholars and film critics agree Vertigo is the ultimate Hitchcock masterpiece with Psycho, North By Northwest or Rear Window rounding out the top 4. Although I would give each a 10 out of 10, I would say Psycho is probably my all time favorite.
Maybe you could say Vertigo is a better technical film or it uses camera, lighting, sets and scenery better, but Psycho has all of that as well and then some. I remember reading somewhere a list of movies where mid way through the film the plot was hijacked in a completely different direction than it had been going (for movies like From Dusk Till Dawn and True Lies), but Psycho was not listed.
I was extremely surprised in that by 1960, how many filmmakers would dare kill off their only main character and the only one the audience cares about partially through and leave the audience gasping as what was to happen next? I wish I had been sitting in a darkened theatre in 1960 to see just that. Working at movie theatres for years, I have had my share of watching crowd reaction both in laughter and in fear, and I can see how movie makers enjoy doing this themselves for their own films.
Great movies keep you coming back even though you are completely familiar with every detail already, but still come back to rewatch anyways.
I have to assume Anthony Perkins did too good of a job as Norman Bates to have any casting directors use him for different roles. He reprised Norman, several times in the 80s and 90s, and also had roles in other films like The Black Hole and Murder on the Orient Express, but no one really remembers him for anything other than Psycho. He was just that great.
I absolutely love the Bernard Herrmann score, especially over the haunting opening credit sequence. One of the best of all time. Have to mention Janet Leigh also won an Oscar for Best Supporting Actress. She was memorable and marvelous as well.
And Hitch never won Best Director.
Maybe you could say Vertigo is a better technical film or it uses camera, lighting, sets and scenery better, but Psycho has all of that as well and then some. I remember reading somewhere a list of movies where mid way through the film the plot was hijacked in a completely different direction than it had been going (for movies like From Dusk Till Dawn and True Lies), but Psycho was not listed.
I was extremely surprised in that by 1960, how many filmmakers would dare kill off their only main character and the only one the audience cares about partially through and leave the audience gasping as what was to happen next? I wish I had been sitting in a darkened theatre in 1960 to see just that. Working at movie theatres for years, I have had my share of watching crowd reaction both in laughter and in fear, and I can see how movie makers enjoy doing this themselves for their own films.
Great movies keep you coming back even though you are completely familiar with every detail already, but still come back to rewatch anyways.
I have to assume Anthony Perkins did too good of a job as Norman Bates to have any casting directors use him for different roles. He reprised Norman, several times in the 80s and 90s, and also had roles in other films like The Black Hole and Murder on the Orient Express, but no one really remembers him for anything other than Psycho. He was just that great.
I absolutely love the Bernard Herrmann score, especially over the haunting opening credit sequence. One of the best of all time. Have to mention Janet Leigh also won an Oscar for Best Supporting Actress. She was memorable and marvelous as well.
And Hitch never won Best Director.