Review

Fran Ambrose runs a late night talk-back show. On this particular night the subject is matricide, and in particular boys who kill their mothers. Guess there must be another type, but that's what they are telling me. There are a couple of guests on the show and the phone lines are open and ready for business. A caller named Ed states that he killed his own mother, and wants to add some realism to the show.

Gradually Fran gets into Ed's mind, and soon learns she is talking to the infamous Norman Bates, once again on release from the nuthatch. Norm is now married, but feels he must kill again, as his wife is expecting a baby, and Norman doesn't want another monster like himself out and cutting down the local citizens. Fran attempts to talk Norman out of it, and we get glimpses into Norman's childhood. Much mayhem of the Bates variety ensues. Ready to meet Mother?

Hey this is a first, a Nox Noctris Vigilo roundtable review. The subject matter for the inaugural review-a-thon was psycho-killers, with particular reference to Norman Bates. Since we have already covered the first three movies, I opted to review the fourth and final chapter of the Bates Motel saga. Let's get this one on!

First up, this final chapter in the life and times of Norman Bates was a direct to TV production, rather than a cinema movie. One of the weird things that happen with horror franchises which are running out of steam is that they hit the small screen as the clock winds down. As a result, director Garris is somewhat neutered in what he can show, and where he can take the movie. Surprisingly, the end result isn't half bad, with some decent touches.

Garris frames his movie in the present, but for much of the running time of the first two thirds we are in flashback mode as we travel back in time to Norman's teenage years. The final third, which all goes down at the Bates Motel, and in that house on the hill, is really a reprise of Norman's personal demons and victims from the past. For no apparent reason this doesn't include anyone from the preceding three films, which would have been a nice way to round out the franchise.

On the evidence here Garris isn't master of anything

I must say I was disappointed when we meet Mother. I was expecting some bitch-monster from Dante's third circle, but what we get is simply a bitch. We quickly glean that Norman is infatuated with Mom, and Garris almost goes Tasmanian on us with the concept, till he realizes this one's for TV and incest isn't going to get the commercial dollar rolling. We do learn why Norman has a habit of cross-dressing while invoking Mother however. This aspect is pretty farcical to be honest, and was one of the weaker parts of the movie. Norman is pretty out-there in the loose roos, top paddock stakes, and I wasn't dialling into the dude being put in a dress and locked in a closet by his mother as being the core reason behind this.

Young Norman is portrayed as being insular, well-educated, and a quiet viewer of the world around him. This is due, according to the movie, to the death of his father, and to Mrs. Bates' lover, who is rather obnoxious. We also learn Norman has a hobby, and that hobby is of course taxidermy. Actually, Norm puts that to good use, and it's nice to see the youth of America expanding their minds in interesting ways.

Each episode of Norman's youth is played out against the backdrop of the talk-back radio show. End of day, the radio show doesn't have much bearing on the overall direction of the movie, other than to remind Norman he should pick up that dress from the dry cleaners, and perhaps get the kitchen knives sharpened again.

Missing this time around is a shower scene, which I was disappointed in not getting. Norman cutting his finger, putting it under the cold-water tap, and watching his blood go down the drain is the substitute. Pretty weak effort, though director Garris nails the scene and hits the ball out of the park with it.

Not entirely sure where Garris was going with Norman's modus operandi. Norman stabs his first victim, a teenage vixen after some booty call with Norm, garrottes some chick in her late twenties who was also after some of that Norman loving, before finally poisoning his mother and her lover. Three distinct methods there; either Garris was dialling into Norman trying to make his mind up about his favourite means of doing the dirty, or the Director simply wanted to add some variety to what are pretty trite scenes overall.

For no particular reason, and the scene doesn't work, we get a reprise of Psycho's car into the swamp scene. This time around it's played for laughs, and I wasn't laughing over here. Show some respect Garris, we're talking Norman Bates here.

Garris does amp the ante with the resolution, and I was digging in with both hands. Tense, fast-moving, and ultimately satisfying, even if Garris did leave room for another sequel. Maybe they could stuff this franchise up as well, and have Rob Zombie putting it out of its misery. See next year's Halloween 9 if wondering.

Anthony Perkins (Norman Bates) once again shows why no one else can play the role. He's simply great as the deranged dude who has to kill again to stop Norman, the next generation. Perkins gets out the nail gun, and blasts the barn door off its hinges with his facial expressions. Thanks for the memories Anthony, you rock dude!

Henry Thomas (young Norman Bates) doesn't bring a lot to the role. Ham-fisted, wooden, and ultimately uninteresting. Not sure if Garris wanted the role played that way, but with Thomas it wasn't working. Olivia Hussey (Norma Bates) was great as the bitch. Really hated her character, which is a good thing as we are meant to have zero sympathy for her. Hussey delivers, and the audience applauds. CCH Pounder is likewise great in the female radio jock role. Catch her expressions as things are revealed; fun times at Ridgemont High right there. Donna Mitchell (Connie Bates) is pretty much a TV actor; she's probably fine for that medium, but doesn't have the special something needed for a cinema film. Guess since this is a TV movie, we'll give her a passing grade. She does TV dramatic well; anyone need a slightly overwrought chick for their CSI adaptation?

And just when you thought the idiot box was so bland that T&A wouldn't come into the equation, Bobbi Evors shows her boobs. Hey, no silicon involvement either. A slight bit of exploitation and titillation (hehehe) for the male viewers there.

Bernard Herrmann's original 1960 score, which is one of the most recognised in the horror genre and coincidentally one of the best, is used throughout the movie. Just love that use of music when Norman decides to take a walk on the wild side. Other than Hermann's superb work we get some bland TV diet music, which wasn't rocking my world.

Psycho IV does what it sets out to do, explore Norman's youth, introduce us to Mother, and perhaps explain why Norman is the way he is. Whether or not you'll dial into the movie's answers is up to you; I didn't, and thought it was all pretty shoot-from-the-hip pseudo-psychology. Nice touch with Norman revisiting his formative years, and just what effect that will have on the present. A few themes are touched on, learnt vs. hereditary behaviour, but by and large director Garris drops the ball on going anywhere interesting and new.

For trivia buffs, when Norman first calls the radio station he says his name is Ed. Robert Bloch, who wrote the original Psycho novel, based Norman Bates on real life Wisconsin ghoul Ed Gein. A number of different endings to the movie were shot, to keep it secret. Guess Harry Knowles was doing spoilers way back in 1990 as well as currently, just ask M. Night about that turkey.

Whether or not I would recommend this film depends on your take-up of the prior three movies. If you have got down and dirty with those movies, then you really must catch this one to round out your Norman Bates experience. If you aren't a fan of the franchise then give this one a miss. Made for TV is never going to be as forceful as full cinematic, and Psycho IV is no exception to the rule. A movie that goes through the paces rather than trying something new. We can at least bid a farewell and adieu to Norman, thanks for the memories dude.