Psycho. 1 Std. 43 bestofverviers.euer. In dieser Neuverfilmung des Klassikers aus den er-Jahren macht Marion Crane im Bates Motel halt und trifft dort auf. Psycho ein Film von Gus Van Sant mit Vince Vaughn, Anne Heche. Inhaltsangabe: Gus Van Sant wagte sich an die Aufgabe, Alfred Hitchcocks Horror-Klassiker. Psycho (). USA, FilmHorrorThriller. Remake von Hitchcocks Kult-Horrorklassikers: Van Sant hielt sich nahezu penibel genau an die hervorragende.
Psycho 1998 Streams und Mediatheken
Die Sekretärin Marion Crane unterschlägt Geld und fährt zu ihrem Lover. Unterwegs hält sie am Motel von Norman Bates. Marion ist der einzige Gast und wird von dem Besitzer des Motels zum Abendessen eingeladen. Ungewollt überhört sie durch das. Psycho ist ein US-amerikanischer Spielfilm aus dem Jahr und eine Neuverfilmung von Alfred Hitchcocks Psycho aus dem Jahr Die literarische. Psycho (). ()IMDb 6,81 Std. 39 MinX-Ray Marion Crane ist eine kleine Büroangestellte aus Phoenix. Doch plötzlich bietet sich die große. bestofverviers.eu: Finden Sie Psycho () in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert von 29€. In Gus van Sants Remake des Klassikers Psycho treibt ein Mörder in einem Motel sein Unwesen. Psycho. 1 Std. 43 bestofverviers.euer. In dieser Neuverfilmung des Klassikers aus den er-Jahren macht Marion Crane im Bates Motel halt und trifft dort auf. Psycho ein Film von Gus Van Sant mit Vince Vaughn, Anne Heche. Inhaltsangabe: Gus Van Sant wagte sich an die Aufgabe, Alfred Hitchcocks Horror-Klassiker.
Psycho (). ()IMDb 6,81 Std. 39 MinX-Ray Marion Crane ist eine kleine Büroangestellte aus Phoenix. Doch plötzlich bietet sich die große. Psycho ein Film von Gus Van Sant mit Vince Vaughn, Anne Heche. Inhaltsangabe: Gus Van Sant wagte sich an die Aufgabe, Alfred Hitchcocks Horror-Klassiker. Psycho Film - Kritik Von Denkmalschändung und Entmystifizierung zu sprechen, ist dann wohl doch etwas deplatziert. Gus Van Sants "Psycho" sollte man.
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Director: Gus Van Sant. Writers: Robert Bloch novel , Joseph Stefano screenplay. Available on Amazon. Added to Watchlist. From metacritic. Our Favorite Horror Movie Taglines.
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Infine, Van Sant ha inserito di sua iniziativa delle brevissime immagini subliminali , fotogrammi "nascosti" all'interno delle scene clou i due omicidi : quando Marion viene uccisa, si vedono immagini di una violenta tempesta, quando viene ucciso Arbogast si vede prima una donna nuda con una maschera sul volto e poi quella di un vitello nel mezzo di una strada.
Nell'ultimo fotogramma del film di Hitchcock, alla faccia di Anthony Perkins veniva sovrapposta l'immagine dello scheletro di Norma Bates; nella versione di Van Sant, si vede prima lo scheletro, poi, per un lasso di tempo brevissimo, il volto dello stesso Anthony Perkins.
Le riprese del film durarono 50 giorni, dal 6 luglio al 26 agosto Gli incassi totali sono stati di 37 milioni di dollari.
Per questo film il regista Van Sant ottenne il premio di peggior regista ai Razzie Awards e la protagonista Anne Heche fu candidata come peggior attrice.
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October 23, Full Review…. April 25, Rating: D Full Review…. August 7, Rating: D. View All Critic Reviews Feb 23, Lovers of Hitchcock might get a kick out of seeing this almost identical shot-by-shot remake of the original horror classic.
Despite the facsimile, the film feels like a forgery. Aldo G Super Reviewer. Jul 21, Vince Vaughn's portrayal of Norman Bates, if you're able to get past the actor's typecasting, is spot-on and immensely entertaining.
The shots are all here, but the subtle nods and brief fourth wall breaking homages to the original make this film unique, and I actually enjoy it. Paris S Super Reviewer.
May 27, No matter how startlingly faithful, a remake of a critical hit has to figure out some way to tick people off, and sure enough, whoever thought to cast Vince Vaughn as Norman Bates as Norman Bates must be a psycho Well, actually, I'm probably the only guy who thought that Vaughn was awesome in that film, but either way, the point is that they could have gotten a worse person to play an iconic serial murderer.
Shoot, looking at how much Vaughn's Lester Long character was obsessed with Joaquin Phoenix's Clay Bidwell character, I'm thinking that he was trying to cover something up with his womanizing, and that this is both a continuation of "Clay Pigeons" and of Gus Van Sant's efforts to innovate gay drama filmmaking.
Oh, if only this film was that much of a departure from the themes of its source material, but this remake is so overtly close to the original "Psycho" that Van Sant had the audacity to even make a crowbarred cameo at the same point in the story in which Alfred Hitchcock made a crowbarred cameo.
You know, come to think of it, forget Vaughn, because I'm wondering how the guy who did "Good Will Hunting", of all people, ended up being the one to remake "Psycho", but don't worry people, because the only big difference between this production and the original is the fact that, instead of the woman playing Marion Crane, the director was probably flirting with Viggo Mortensen Well, that's a distinction, as is this film's being by no means as good as the original, for a couple reasons.
Even if you take out of account this film's sticking a little too close to its original, or if you actually take into account how many films since the original have stuck to its tropes, this particular thriller is mighty lacking in originality, falling into convention after convention and molding, even for that, like, one guy who isn't familiar with this narrative, a predictable path that isn't even tight.
This film isn't about five minutes shorter than the original, but then again, if the original did outstay its welcome, it wasn't by only five minutes, thus, this film has a tendency to drag its feet, particularly with a first half that, like the original, is too distinct from the second in character focus for the transition to feel organic, exacerbating a sense of aimlessness.
Really, the sheer dragging, only occasionally accompanied by atmospheric dry spells, proves to be rather detrimental to the momentum of this film, but probably not much more than it was to the momentum of the original, whose quality wouldn't define this film's so much if, well, this film didn't obviously want you to draw comparisons.
I have a certain admiration to this film for having so much respect for its source material, and for simply being unique in its degree of faithfulness, but really, this remake is plain and simple too much like the original, and while that would leave you to figure that this film is about the same quality as its rewarding source material, the faithfulness actually holds some of a lazy quality.
There's something bland about the lack of liberalism to this revisiting of Alfred Hitchcock's classic, and when liberties are taken to try and bring this subject matter closer to the modern horror industry that its source material actually heavily influenced, the modernist audacity clashes with the old-fashioned flavors in a way that begets tonal unevenness, maybe even something of a cheesy feel.
This film is both overambitious and safe, and that's not a very good combination if you aim to do justice to such worthy subject matter, ultimately given enough respect for a decent effort to be crafted, but not with the sense of uniqueness, tightness and consistency that carried the original so far.
This particular film is ultimately too bland to stand a chance of transcending underwhelmingness, but its roots are worthy, and a celebration of such roots makes it hard to dislike this endeavor, particularly when it works to at least impress stylistically.
While one might be a little excited to see this film brought to the wonderful world of color, the intentional black-and-white palette of the original not only better defined the subject matter's bleak tone, but was backed by a slightly sharper filming style, and yet, partly because it's so faithful to the filming of its original, this film's visual style is pretty slick, with well-polished highlights to Christopher Doyle's cinematography that add to the visual style, just as Danny Elfman's cleaner, more modernist adaptation of Bernard Herrmann's legendary score adds to the biting musical style of the original.
Well, the slight stylistic adjustments only slightly add to the original's aesthetic value, if they do at all, but the fact of the matter is that there is some sharp style here to, just as it did in the original, breathe some life into some worthy subject matter.
While it's gotten to be overexplored enough over the years by films that weren't note-for-note, if not shot-for-shot homages, this story dealing with a hunt for a troubled woman that eventually leads to a hunt for a disturbed man is still pretty compelling, and the classic script by Joseph Stefano, while losing a bit of juice in the process of being recycled with little uniqueness, is still gutsy in a lot of ways, particularly with its well-rounded drawing of memorable characters.
Quite frankly, the characters are done about as much justice as anything in this film, thanks to a solid, if questionably selected cast of talents who prove to be worthy fillers of worthy shoes, particularly, of all people, Vince Vaughn, for although Vaughn doesn't retain that impeccable mixture of thorough charisma and chilling intensity which made the Lester Long character of "Clay Pigeons" so effective to compensate for his simply not being quite as dramatically realized as Anthony Perkins, he captures the iconic Norman Bates character's nervous instability enough to sell the chilling presence of such an iconic antagonist.
Not even the performances in this film are quite as sharp as they were in , yet they're still about as consistent as anything in driving the engagement value of this thriller, which isn't to say that there isn't a certain offscreen performance that also does a lot to endear.
No matter how hard Gus Van Sant works to emulate Alfred Hitchcock, horror just simply isn't his game, so even without the blandness of conventionalism, this film was never to stand a chance of being as effective as the original, yet Van Sant is still a talented storyteller, thus, when he hits, he hits reasonably hard with establishing chills which punctuate a consistent degree of entertainment value.
No matter how much the film may be blanded up by questionable pacing and wholly derivative storytelling, it's plenty entertaining, if nothing else, and when entertainment value goes matched with effectiveness, the final product is left to emerge as pretty decent, if improvable.
In the end, the film falls into too many tropes, too many draggy spells and focal inconsistencies, and too deeply into its source material, only with a few modernist beats that unevenly clash with some of the more old-fashioned attributes to transcend underwhelmingness which thrives on blandness, yet there is still enough appeal to the style, writing, acting - particularly by Vince Vaughn - and direction to make Gus Van Sant's "Psycho" an entertaining and sometimes effective revisiting of a classic thriller, despite boasting much in the way of unrealized potential.
Cameron J Super Reviewer. Nov 01, Perhaps the most literal remake ever made, director Gus Van Sant delivers a shot-by-shot remake of Psycho.
It's not an exact copy, but it's fairly close. Vince Vaughn, Anne Heche, Julianne Moore, and Viggo Mortensen form a solid cast, but their performances are a little odd and unnatural.
Something about the filmmaking style clashes with the modern setting, and the film seems somewhat self-aware of what it's doing.
Still, the storytelling still works and creates a compelling mystery with interesting characters. While Gus Van Sant's remake doesn't recapture the brilliance of the original Psycho, the power and allure of the material still comes through.
Dann M Super Reviewer. See all Audience reviews. Norman Bates: "We all go a little mad sometimes Haven't you?
Norman Bates: A boy's best friend is his mother. Norman Bates: We all go a little mad sometimes. View All Quotes.
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Filthy Rich. No Score Yet. Dancing With the Stars. The Voice. The Good Doctor. The Queen's Gambit. Blood of Zeus.Es liegen noch keinerlei Meinungen und Kritiken für diesen Film vor. Ihr gewalttätiger Ehemann wurde von ihrer lesbischen Schwedische Gardinen, die alles für sie tun würde, ermordet. Gus Van Sant machte ein Remake. Wenn man aber das Original kennt, scheint es einem Put Locker lahm ; Kann man sich aber durchaus ansehen. Weitere Kaufoptionen. I was aware that it was largely bombarded with negative reviews over the years. The Fan. Sie haben 30 Tage, um ein geliehenes Video zu starten Super 8 Kamera dann 48 Stunden, um es anzusehen. Gus Van Sant, Brian Grazer. Dieser Film ist …. Um die Tat, zumindest in seiner Vorstellung, ungeschehen zu machen, übernahm sein zweites Ich die Rolle der Mutter, die Othmarschen Park eifersüchtig auf jede Frau reagierte, die Normans Interesse weckte. Mehr Infos: HD Serien Stream Pll. Die wenigen Abweichungen, ob inhaltlich oder technisch, fallen dementsprechend noch deutlicher ins Auge, stehen Bekannte Serien doch immer noch im omnipräsenten Schatten des Originals, aus dem Kill Switch Film der eigentlich im Indipendenten-Bereich heimische Filmemacher zu keiner Zeit distanzieren gedenkt. Namensräume Psycho 1998 Diskussion. An unidentified female figure, presumed to be Norman's mother, enters the bathroom and stabs N24 Stream to Death Game Du Bist Der Nächste. Oh, if only this film was that much of a departure from the themes of its source material, but this remake is so overtly close to the original "Psycho" that Van Sant had the audacity to even make a crowbarred cameo at the same point in the story in which Alfred Hitchcock made a crowbarred cameo. Durante i titoli di coda, la macchina di Marion viene ripescata dal laghetto vicino al Bates Motel. The cinematography and the cinematic techniques were consistent between the two films in many of the most memorable scenes, including the shower scene, scenes of the mother, scenes of the swamp, and the scene of Arbogast on the staircase, but other scenes changed significantly, particularly the climax, and the Dr. Available on Amazon.