Psycho (1960)

Psycho is a perennial horror classic for good reason. Its best scenes are among the most iconic in the genre and remain potently suspenseful and visually arresting even if they aren't quite horrifying by today's standard. Going toe-to-toe with the "scare" scenes are a couple of tense dialogue exchanges that are just as compelling thanks to Anthony Perkins' layered and chilling performance.The highs are incredibly high, perhaps to a fault. Connective tissue scenes in the film which have the misfortune of resting before and after some of the best moments in horror can feel a bit mundane by comparison. There is an unevenness that has become more pronounced with repeat viewings, as I find myself looking forward to the best moments rather than enjoying each on its own merit. It may be a consequence of the fact that this is a film that is somewhat heavily reliant on its mystery and eventual twist, with many moments dedicated specifically to throwing the audience off the scent. Once you've seen the movie, the tricks take on a transparency that betrays the slightly shallow nature of the story. The execution makes up for these shortcomings convincingly, but Hitchcock has certainly made other thrillers that are much richer thematically (Rear Window, Vertigo), and less reliant on a central gimmick.Regardless, Psycho absolutely shines in its best moments thanks to the excellent performances and Hitchcock's masterful direction. It certainly deserves its classic status in both Hitchcock's filmography and the horror catalog at large, even if it lacks the consistency and substance of some of his other classics.Strong 4/5

When Psycho was first released in the summer of 1960, it became Hitchcock's most profitable and successful movie of all time. It changed the face of movies, and horror, forever. I've seen it so many times on TV as well as on VHS and blu-ray. It's a superior movie to the remake as well as the sequels and two tv series. The title in the movie refers to the psycho killer named Norman Bates (Tony Curtis) who's main target is Marion Crane (Janet Leigh), who gets killed by a knife set to the loud music of Bernard Hermann and some scary editing. But the movie doesn't end there, as the killer goes to his mom in the famous psycho house and tells what he had did before he gets caught red handed by cops after he kills his brother. In the end, Norman is in a ward, looking at a fly on his hand, before his car gets removed from the muddy lake. The End.

Made no sense, boring and needlessly bloody. I don't understand why everyone was raving about it.

This is so much better than Rear Window! Kept me hooked the whole time.