A young F.B.I. cadet (Jodie Foster) must receive the help of an incarcerated and manipulative cannibal killer (Sir Anthony Hopkins) to help catch another serial killer (Ted Levine), a madman who skins his victims.
Lawrence A. Bonney
Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
Phoenix office worker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks, and they cannot get married because Sam has to give most of his money away in alimony. One Friday, Marion is trusted to bank forty thousand dollars by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam's California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into the Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother.Written by
Col Needham <email@example.com>
When Marion first gets out of her car at the motel in the rain, the windshield wipers are running at a much faster rate than they were in the previous shot from inside the car through the windshield. See more »
People always mean well. They cluck their thick tongues and shake their heads and suggest oh, so very delicately...
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No matter how many times one sits through this Hitchcock classic, Anthony Perkins always manages to surprise you. It is a sensational performance - for which he didn't even get an Oscar nomination - I have no way of knowing how much preparation he dedicated to the creation of Norman Bates, maybe no more than usual, but the details of his performance are astonishing. Never a false move and if you follow the film looking into his eyes, you'll be amazed as I was. The madness and the tenderness, the danger and the cravings. A mamma's boy with hellish implications and yet we see, we feel connected to the human being, we are not horrified by him but of his circumstances. In short, we kind of understand him. That alone puts him miles and miles away from other cinematic monsters. From Richard Attenborough as the real life Christie in "10 Rillington Place" to the hideous, unredeemable Christian Bale in "American Psycho". Here Hitchcock and Herrman create an universe that Anthony Perkins inhabits with the same kind of electricity, nerve and shyness that Norman Bates projects throughout the film. Janet Leigh falls for it if not him. She, like us, sees the boy trying to escape his dutiful son's trap. He is in my list of the 10 most riveting characters ever to be captured on film.
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