New posts

Reply to thread

Message: <blockquote data-quote="Mel O&#039;Drama" data-source="post: 296135" data-attributes="member: 23">Psycho III (1986) <img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.dvdsreleasedates.com%2Fcovers%2Fpsycho-iii-dvd-cover-07.jpg&f=1&nofb=1" alt="" class="fr-fic fr-dii fr-draggable " style="width: 572px" /> Well, I went into this rewatch with low expectations, which paid off well, I think, as I found it an OK film. In some ways it was closer to the source material than the first sequel, hitting many of the same notes, but it was also arguably a little too close at times. As in the original, we saw the female lead's "original sin" that led her to run away and become befriended by Norman, which was all fine. But I was also intrigued by the choice to pay deliberate homage to the original through not only dialogue ("We all go a little mad sometimes"; "Oh God, Mother. Blood! Blood", etc) but also direction and framing, such as a shot of Norman shot from below with a stuffed owl behind him, or his physical reaction upon discovering a dead body in a cabin. In some ways it's a really nice touch, and I was reminded of what Halloween 2018 did with its little homages to the various sequels. Though Psycho III, however, wasn't too subtle in most of its meta references, which at times made some of these moments feel a little like film karaoke. There was some nice cinematography in the film (directed by Anthony Perkins himself). This was no doubt helped by some nice scenery, such as the desert shots near the beginning of the film, though a lot of the film takes place on the Universal backlot Bates Motel set. And often at night. Which means there's little to be done. Shots of Emma Spool's corpse were effective - and genuinely creepy - when the face was in darkness, but once the "more is more" philosophy kicked in and the mummified corpse was shown in all its artifice it lost its power. The "more is more" philosophy also applies somewhat to the film's nudity, with prolonged titty shots. And to the violence and its aftermath. This very Eighties lack of nuance did little for the film's cause. Speaking of Eightiesness, I very much disliked Carter Burwell's electronic score. I did appreciate a sense of closure at the film's end which feels like an appropriate ending for Norman's story and for the series. [MEDIA=youtube]aWQvuGar-9A[/MEDIA]</blockquote>

Verification: Who played JR Ewing?