Corey says:
Hoo boy, Psycho III.
Psycho III starts off strong. I mean, nuns dying in fucked up ways strong. And then, it just goes sour. Anthony Perkins just doesn’t cut the mustard this time around, making Norman Bates more like a parody of the psychopath. Everything about his performance is exaggerated. Oh, and remember all the crazy bullshit at the end of Psycho II? We’re gonna go ahead and retract that. The one bright spot of this whole film is Jeff Fahey, who plays a total slimy dickball perfectly. I would have rooted for him, but his character was such a piece of shit that I couldn’t bring myself to do it.
Psycho III starts off strong. I mean, nuns dying in fucked up ways strong. And then, it just goes sour. Anthony Perkins just doesn’t cut the mustard this time around, making Norman Bates more like a parody of the psychopath. Everything about his performance is exaggerated. Oh, and remember all the crazy bullshit at the end of Psycho II? We’re gonna go ahead and retract that. The one bright spot of this whole film is Jeff Fahey, who plays a total slimy dickball perfectly. I would have rooted for him, but his character was such a piece of shit that I couldn’t bring myself to do it.
Sorry about the short synopsis, but man. Seriously. Bring a six pack for this one. You’re gonna need it.
Maire says:
Oh nuns! They do make for good expositions, don’t they? Even more so when it really doesn’t have anything at all to do with the movie. It’s like someone needed to slap together a back story on our heroine, and said, “Dude man, you know what I love, man? Nuns! Yeah man, nuns ... you gonna pass that?” And of course she has to fall from grace in some way or another. Lucky for our nun, she’s pretty bad at falling and ends up killing someone else instead of herself.
And that’s where our nun story line ends.
Seriously.
Why even have it? It’s a silly device. If you’re gonna go the nun route, go all the way, even if it veers into weird Omen IV territory*, at least you’re staying true to the start. Ok, so there is that "vision" of Norman as her savior, but still, you don't have to be a nun to have visions.
But enough about nuns, this is Psycho III! Even though it takes place only a month after Psycho II, this movie is so ‘80 it’s painful at times. That’s really what stood out to me. Oh, and all the dickbags. Seriously, why are people intent on screwing with Norman? “Hey, I know what we can do tonight! Fuck with the psychopath! Won’t that just be jolly good fun?!” Oh the hilarity that ensues!
*more on this in a later post! hint: it’s about the Omen IV.
Salty says:
Psycho III is the sequel that you want to see. Norman is still out of the cracker box for some reason and he is still at it (killing motel-goers that is), but that’s not all! He’s got a suicidal runaway nun as a love interest and she happens to look remarkably like Marion Crane (Remember? From the first one.). With more blood and nudity than is expected, the movie is more of an inverse slasher than a normal Psycho film. And, as a cherry to those of us that have decided to follow all the sequels, it essentially apologizes for the half-assed twist at the end of Psycho II.
Psycho III is the sequel that you want to see. Norman is still out of the cracker box for some reason and he is still at it (killing motel-goers that is), but that’s not all! He’s got a suicidal runaway nun as a love interest and she happens to look remarkably like Marion Crane (Remember? From the first one.). With more blood and nudity than is expected, the movie is more of an inverse slasher than a normal Psycho film. And, as a cherry to those of us that have decided to follow all the sequels, it essentially apologizes for the half-assed twist at the end of Psycho II.
The best part of Psycho III is that the movie knows that you want to see Norman living the dual life: interacting with Mother and being Mother. Maybe it’s just me but I think that being chased by an adult man in a housedress is really scary, scarier than being chased by a man in a mask. A mask implies preparation, planning and a desire to escape conviction; a housedress implies that the killer doesn’t give a shit what he looks like when he stabs you, but like it or not you’re getting stabbed. A man who wears a housedress to kill shouldn’t be taunted or provoked. So, naturally, the hitchhiking wannabe country star (Jeff Fahey) hired to run the motel decides to taunt and provoke our transvestite protagonist.
Jeff Fahey is hard to dislike. Well, okay he’s actually really easy to dislike because he’s a huge prick and by the time he joins forces with a giant soul-sucking maggot – excuse me, I mean an up and coming journalist – you really want him to learn first-hand why he should give up bathing. Though, despite of his detestability, the image of Jeff Fahey sitting naked in his motel room waving lamps around in front of his crotch to set a sexy mood for his loose date (“sexy” being used here the same way an announcer at a gentlemen’s club with the word “beaver” in its name would use it) is a memorable film moment if there ever was one.
Sure the film is a little over-acted and ultimately ends in tragedy for everyone (what did you expect?), but by now I think we can feel pretty certain that Norman will be released from the asylum for another romp after a few years of good behavior.
| Maire | Corey | Salty |
|---|---|---|
| ☆ | ☆ | ☆☆☆ |
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