Movie Review: The Hobbit: An Unexpected Journey

Martin Freeman

The Hobbit: An Unexpected Journey (2012)
Directed by: Peter Jackson
Starring: Martin Freeman, Ian McKellan, Richard Armitage and Andy Serkis

I reviewed this film for Next Projection.

"In a hole in the ground there lived a hobbit". So goes one of the most recognizable openings in English literature. Back in 1937, when J.R.R. Tolkien first put pen to paper to create his sprawling fantasy universe, little did he know that it would spawn one of the biggest film franchises of all time.

Now, 11 years after first introducing audiences to his interpretation of Tolkien's world with The Lord of the Rings, director Peter Jackson returns to helm the prequel to his epic trilogy.

The Hobbit: An Unexpected Journey is a solid and enjoyable outing, albeit one that struggles to recreate the magic of the original trilogy. Those films -- like catching lightning in a bottle -- were a pop culture phenom that captured the imagination of filmgoers from around the globe for three years. And, with his assured direction, Jackson makes The Hobbit work, for the most part.

Set 60 years before the events of The Lord of the Rings, we first meet Bilbo Baggins (Martin Freeman) leading a solitary life in his small burrow in The Shire. When the wizard Gandalf (Ian McKellan) appears requesting that he join him on an adventure, Bilbo is hesitant -- and rightfully so. Gandalf wants Bilbo to act as a burglar for a group of 13 dwarves fighting to reclaim their home, the kingdom of Erebor. Hobbits, being fleet of foot, are able to move about sight unseen, sound unheard -- making young Bilbo the ideal candidate for such a dangerous venture.

Having faced a ruthless invasion at the hands of the fearsome dragon Smaug, the dwarves were run out of their kingdom and left homeless. While Smaug lords over Erebor and the dwarf treasure, a plot is set in motion to reclaim their territory by any means necessary. Although riddled with anxiety, Bilbo agrees to leave his idyllic settings for unchartered terrain with a band of bloodthirsty, yet charmingly brash, dwarves.

Freeman is a natural fit for the lead role. He instills Bilbo with a nervous charisma that is as amusing as it is moving. Riding in on the coattails of the immensely popular BBC series, Sherlock, Freeman's fanbase will undoubtedly grow exponentially thanks to his spot-on characterization of one of literature's most popular heroes.

Returning in the role of Gandalf, McKellan manages to make his wise wizard feel younger and more spry than he appeared in The Lord of the Rings. He gives a thoughtful performance with a character he's already perfected.

Ian McKellan

Considering Jackson's knack for coming across talented actors who are not yet household names, the supporting cast are all top notch. It's not only a pleasure to watch the return of Cate Blanchett as Galadriel, Hugo Weaving as Elrond and a never-better Andy Serkis as Gollum, but the new faces are a delight as well. Richard Armitage as dwarf leader Thorin Oakenshield, in particular, is a standout.

Adept at capturing even the tiniest details of Middle Earth, it seems only natural that Jackson would return after original director Guillermo del Toro bowed out due to scheduling conflicts. For the sake of continuity and the overall look and feel, it's fitting that Jackson complete all six films himself. However, the decision to stretch a tiny children's book into three feature films is being called into question.

By the time all the expository information is laid out in the first two acts of An Unexpected Journey, the material has started to stretch a little thin. The meandering plot will likely keep true Tolkien devotees satisfied but may alienate general audiences. The film gains some traction in the third act when much of the action focuses on Gollum and then the epic battle between dwarves and orcs -- but by then the film is nearly over.

However, for all its spectacle and excellent performances, An Unexpected Journey is gaining a fair bit of buzz for the medium in which Jackson chose to film his trilogy.

Jackson made the controversial decision to film his latest Middle Earth outing with a high projection rate of 48 frames per second, which adds up to about twice the normal speed. It's akin to watching the clarity of a high-definition TV show. It will astound as many viewers as it will anger and disappoint. While there are those who will gripe about the 48 frames, there's no denying the often glorious effect it has on specific scenes in the film.

An Unexpected Journey is an enjoyable piece of cinema and you'll be happy that you've returned to Middle Earth -- even if it isn't quite as magical as the first time around.

FINAL GRADE: B+

Movie Review: Silver Linings Playbook

Bradley Cooper and Jennifer Lawrence

Silver Linings Playbook (2012)
Written and directed by: David O. Russell
Starring: Bradley Cooper, Jennifer Lawrence, Robert DeNiro and Jacki Weaver

Like the screwball films of the 1930s -- after which Silver Linings Playbook is styled -- the jam-packed script of director David O. Russell's latest oddity is rife with loose narrative threads that all ultimately tie together neatly in the end.

A festival darling, winning the People's Choice Award at this years Toronto International Film Festival, Silver Linings Playbook has received overwhelming support in critics circles. Applauded for its unique quirkiness, the film is based on a novel by Matthew Quick and manages to balance its darker themes with moments of levity.

When Pat Solitano (Bradley Cooper) is released from a mental health facility he returns to his childhood home to live with his parents (Robert DeNiro and Jacki Weaver). Diagnosed as bipolar, Pat was hospitalized after discovering his wife in the shower with a work colleague and nearly beating the man to death. After countless therapy sessions, Pat has learned to rein in his mood swings and bouts of violent rages -- for the most part. Pat wants to be reunited with his now-ex-wife and vows that nothing will stand in his way, including a pesky restraining order. He believes a reconciliation with his wife is his "shot at a silver lining", as he often says. When his old friends (John Ortiz and Julia Stiles) invite him over for dinner one night to celebrate his homecoming Pat is introduced to Tiffany (Jennifer Lawrence), a young widow with personal issues of her own. As the two bond over medications and moments of depression, the two recognize a spark and embark on a rocky friendship that involves Pat trying to win back his ex-wife and a high-stakes ballroom dance competition.

In a rare dramatic lead role, Cooper has established himself as a fine actor and more than just another pretty Hollywood face. His mature performance as Pat carries a large portion of the emotional heft in the film. He even works through the melodramatic bits to create full-fledged character living on the brink; a man trying to thread his life together.

However, as solid as Cooper is in the lead role, the film greatly benefits from the standout performance of Lawrence as the grieving widow. Playing a character much older than her actual 22 years, Lawrence instills Tiffany with complex emotions that are just brimming beneath the surface. She's liable to just go off at any moment, but Lawrence brings a touching fragility to her sharp-tongued incarnation of Tiffany. She's just as lost, in not more so, than Pat. If there is one thing you'll remember after watching Silver Linings Playbook, it's her bold performance.

In a supporting role, Robert DeNiro is back in top form, portraying Pat's football-loving father who suffers from obsessive compulsive disorders but who loves his family, no matter how dysfunctional. And Jacki Weaver gives a lovely performance as the family matriarch who just wants her loved ones to be alright.

Where the film suffers at times is in its meandering plot. There are moments when the narrative struggles to stay afloat on a very thin premise. But, thanks to a cathartic, albeit cliched, ballroom dance finale, Russell's film manages to straddle multiple genres while telling an intriguing, emotional story. Despite some issues with the script, Silver Linings Playbook is an actors film, one that allows them room to breath and create unique characters that pull you into the story.

FINAL GRADE: B+

Movie review: The Sessions

Helen Hunt and John Hawkes

The Sessions (2012)
Written and directed by: Ben Lewin
Starring John Hawkes, Helen Hunt and William H. Macy

Based on a true story. That sentence, so often found flashing across movie trailers and posters, usually signifies an inspiring tearjerker that will tug at your heartstrings as it works its way up the red carpet to the Academy Awards.

However, while The Sessions does have moments that will leave you reaching for the tissues, it's also a gentle comedy that touchingly delves into the most basic of human desires.

Mark O'Brien (John Hawkes) was diagnosed with polio at the age of six and, as a result, must spend the majority of his days enclosed in an iron lung. For those few blissful hours where he is allowed to leave his prison, he's wheeled around town by a string of caretakers. However, Mark, who went on to become a successful essayist and poet, desired a sort of physical contact that many often take for granted.

The film, based on a 1990 article Mark wrote titled "On Seeing a Sex Surrogate", focuses on his quest to lose his virginity at the age of 38. A devout Christian, Mark grapples with his religious conscience and his desire for a physical act that is deemed a mortal sin. In an attempt to come to terms with his inner turmoil, Mark regularly visits a local priest (William H. Macy) to unburden himself. After several meetings, Mark admits his desire for sexual fulfillment and his priest, in one of the standout moments in The Sessions, gives his blessing to Mark with a simple, "In my heart, I feel He will give you a free pass on this one. Go for it."

And go for it he does. He hires Cheryl (Helen Hunt), a sex surrogate who is assigned to six sessions with Mark. Her goal: To not only help him in his quest to lose his virginity but to help him find comfort with his own body and sexuality. Quick to brush off any association with prostitution, Cheryl is a sex therapist who also happens to take off her clothes in order to help heal her clients. The restriction to six sessions is to prevent therapist and client from becoming too involved with one another. It's a quick and effective way to cut the strings.

If nothing else, The Sessions is a film of performances, and great ones at that. Hawkes and Hunt carry the emotional weight on their shoulders, weathering their characters' personal ups and downs with gentle humour and touching maturity. Despite its premise, the film isn't about sex; it's about those basic human desires we all harbour and how we each work to achieve them.

Hawkes is a likely Best Actor nominee shoo-in at the Oscars this year. Speaking in a higher voice and contorting his body, Hawkes is only able to use his face to convey his emotions. A versatile actor who has really come into his own in the last five years, the Oscar nominee gives arguably his finest performance to date. Hawkes doesn't make Mark a character to be pitied -- he's to be admired for his strength of character, minus the cliched trappings of many films that revolve around a person living with a disability.

Hunt returns to the silver screen after a self-imposed hiatus and she's back in full force -- just as likable and charming as ever. One of the flaws of The Sessions is the manner in which it glosses over Cheryl's life. It stands back from her rocky marriage and forces the audience to watch from a distance. How does her career choice affect her marriage? And why does she fall so hard for Mark? What is it that is missing from her life? All of these questions, and more, are left unanswered yet, thanks to Hunt's quietly commanding performance, you're still drawn into Cheryl's story.

The screenplay, written by director Ben Lewin, is a little all over the map -- changing narrative point-of-views that leave the film feeling like detached fragments and vignettes. However, The Sessions is ultimately buoyed by the two standout lead performances. You only wish you had more sessions in which to spend with them.

FINAL GRADE: B+

Ranking the Films of Steven Spielberg

Raiders of the Lost Ark

Recently, Vulture ranked all 28 of Steven Spielberg's films. As bloggers Will Leitch and Tim Grierson wrote: "Spielberg doesn't always receive his due, dismissed in some quarters as merely a 'commercial' moviemaker who lacks the soul of a true artist." 

The article did get me thinking, though: How would I rank Spielberg's films? So much of his filmography helped peak my interest in the cinema when I was a child. I still regard Jurassic Park as the best experience I've ever had in a theatre. I can still remember feeling my heart in my throat. Combine Jurassic Park with my  love for Raiders of the Lost Ark, Indiana Jones and the Last Crusade, Hook and E.T. and Spielberg was easily the most influential film figure in my younger years. In my eyes, no made better movies. For those seeking both pure adrenaline and loveable characters, Spielberg is where you'd look.

Granted, Spielberg has had his fair share of cinematic misfires, but there's no denying his ability to inspire new generations of filmmakers with his stylistic flair and ability to effortlessly take on any genre or subject.

While I haven't seen everything in his oeuvre, here is how I'd rank the Spielberg films that I have seen:

20) Indiana Jones and the Temple of Doom (1984)
19) The Lost World: Jurassic Park (1997)
18) Indiana Jones and the Kingdom of the Crystal Skull (2008)
17) A.I. Artificial Intelligence (2001)
16) The Terminal (2004)
15) The Color Purple (1985)
14) Saving Private Ryan (1998)
13) Empire of the Sun (1987)
12) War of the Worlds (2005)
11) Catch Me If You Can (2002)
10) Hook (1991)
9) Lincoln (2012)
8) Close Encounters of the Third Kind (1977)
7) Schindler's List (1993)
6) Minority Report (2002)
4) E.T. The Extra-Terrestrial (1982)
3) Indiana Jones and the Last Crusade (1989)
2) Jurassic Park (1993)
1) Raiders of the Lost Ark (1981)
Perfection. Pure, unadulterated entertainment where we get to see Spielberg at his finest.

Movie Review: Lincoln

Daniel Day-Lewis

I reviewed this film for Next Projection.

Long-regarded as one of America's greatest leaders, Abraham Lincoln was many things: A shrewd politician, a hardworking family man and a vocal proponent of passing an anti-slavery bill.

The gradual build-up to director Steven Spielberg's opus has helped revive public discussions on Lincoln outside of the usual historical circles. Yet, few films have ever ventured to portray the much-revered president on the silver screen and, if anyone were to succeed in the role, it would be celebrated British actor Daniel Day-Lewis. And, while the always-reliable Day-Lewis commands the screen with his award-worthy performance, Lincoln may ultimately leave some viewers scratching their heads.

Spielberg's Lincoln chronicles the last four months of the titular hero's life, from January to April 1865. The action takes place in Washington, as the President struggles to bring an end the Civil War raging throughout the nation. Lincoln puts most of his time and energy into passing an amendment to abolish slavery, a contentious issue that proves divisive within the House of Representatives.

In the moments where the script calls for levity, Lincoln enlists the help of three affable Republican "thugs" (James Spader, John Hawkes and Tim Blake Nelson, all excellent) to convince the remaining Democrats who are still on the fence over the anti-slavery act to come back with a verdict in support of the bill.

However, considering the historic significance of America's 16th President of the United States, it's somewhat perplexing as to why Spielberg gets off to a slow start in the early going. The first hour is filled with awkward exposition as the script calls for too many heavy-handed conversations that quibble over the semantics of passing a bill. Periods of long, drawn-out speeches on constitutional law and negotiating peace slow the momentum to a standstill.

The screenplay, by Tony Kushner, neglects to delve deeper into the man behind the iconic top hat and beard. There are even instances where, despite Day-Lewis' mesmerizing performance, Lincoln recedes into the background. When we do get glimpses of his private family life they are fleeting — especially frustrating considering certain scenes with his wife Mary (Sally Field) hint at a fascinating, albeit unhappy, marriage. Even a subplot involving his eldest son, Robert (Joseph Gordon-Levitt), is ultimately discarded in favour of the unending parade of secondary characters.

But where Lincoln ultimately falls short is in its hazy narrative. Is this a biopic on the man behind the legend or a docudrama on the abolishment of slavery in the United States?

Daniel Day-Lewis exudes a confidence in his craft rarely seen in actors working today. Although the passage of time prevents us from knowing exactly how Lincoln spoke and acted towards his colleagues and family, Day-Lewis imbues his metaphor-spouting Lincoln with a gentleness that defies his reputation as a commanding leader. Speaking in soft-spoken cadences that rarely rise above a whisper, Day-Lewis' Lincoln walks with shoulders so stooped that they appear to carry the entire weight of the world. He has the uncanny ability to transport you in time and make you believe that the person you are watching on the silver screen is the real person — as opposed to a carefully crafted reconstruction. It's a powerful — and beautifully subdued — performance from an artist who many would argue is a gift to acting.

The supporting cast is a revolving door of familiar faces from Jackie Earle Haley (as Alexander Stephens) to David Strathairn (as Secretary of State William Seward). But it's Tommy Lee Jones as Pennsylvania rep Thaddeus Stevens that is the standout — and potentially one of the early contenders for a Best Supporting Actor nomination. Grizzled and peevish, Jones unleashes passionate pleas in defense of Lincoln's anti-slavery bill — much to the chagrin of Democratic pro-slavery speaker Fernando Wood (Lee Pace).

Lincoln is not as epic or sentimental as one would come to expect from Spielberg — it's easily the director's most restrained work to date.

While the film has its powerful moments — many of which take place in the House of Representatives — Lincoln, the man, ultimately gets lost within Lincoln.

FINAL GRADE: C+

Blu-ray Review: Sunset Blvd. (1950)

Comparing the Blu-ray transfer to the DVD release.

I reviewed this Blu-ray for Next Projection.

Cast: Gloria Swanson, William Holden and Erich von Stroheim
Director: Billy Wilder
Country: U.S.
Genre: Drama
Official Trailer: YouTube

Video
Video Codec: MPEG-4 AVC
Video resolution: 1080 p
Aspect ratio: 1.37:1
Original aspect ratio: 1.37:1

Audio
English: Dolby True HD Mono
French: Dolby Digital Mono
Spanish: Dolby Digital Mono
Portugese: Dolby Digital Mono
Subtitles: English, French, Spanish and Portugese

Sunset Blvd. finally gets its close-up on Blu-ray. As one of the most cynical glimpses of Hollywood to ever hit the silver screen, Billy Wilder's satiric masterpiece is classic cinema at its finest.

Long revered as one of the finest films ever made, this seminal work marks a career high for Wilder who, at the time, was Hollywood's most celebrated director, having recently won the Oscars for Best Director and Best Screenplay for The Lost Weekend (1945).

With its assortment of colourful characters both fictional and real, Sunset Blvd. delves into the dark side of movie-making -- from the desperation of those who seek a life in the spotlight to those jaded figures who work behind the scenes. It's a dirty business and Wilder wasn't afraid to shine a light on its dark corners.

Struggling screenwriter Joe Gillis (William Holden) is down on his luck in Hollywood and, after a series of misadventures, finds himself in a ramshackle mansion on the outskirts of town. Once inside the oppressive house Joe meets Norma Desmond (Gloria Swanson), an aging former silent screen star, and her solumn German butler Max von Mayerling (Erich von Stroheim). When Norma shows Joe a script she plans to use as her "return" to the silver screen, she enlists him as her screenwriter in exchange for money to pay off his creditors. Lost in her delusions and exaggerated sense of self-worth, Norma showers Joe with money and jewellery -- lavishing the man she believes will be her gateway back to fame.

Sunset Blvd.'s theme of opportunism and its consequences narrows in on what making movies does to people in the business.

The transfer and digital reconstruction is gorgeous, capturing the luscious light and shadows in every shot. Paramount clearly appreciated the importance of preserving this classic and celebrating its place in film lore.

There is a wealth of supplemental features, many of which were brought over from the DVD restoration that was released a decade ago. Featuring the likes of film historian Ed Sikov, actress Nancy Olson and film historian Andrew Sarris, the extras give tidbits on the behind-the-scenes issues in bringing this classic to the big screen.

The only complaint is that, after clocking in at more than two and a half hours of extras, the information doled out in the interviews tends to get a bit repetitive. Perhaps had some of the smaller supplemental features been edited together into one longer finished product than viewers wouldn't suffer from a sense of deja vu. 

Extras
This Blu-ray release includes featurettes on "Sunset Blvd.: The Beginning", "Sunset Blvd.: A Look Back", "The Noir Side of Sunset Blvd.", "Paramount in the 50s" and a deleted scene, among other bonus supplements.

Final grade: A 

Scariest Movie Scenes

Tina's death in A Nightmare on Elm Street

In honour of Halloween: The 13 movie scenes that, at one time or another, scared the living crap out of me.

A Nightmare on Elm Street (1984)
The premise: A long-dead serial murderer haunts the dreams of the children whose parents were members of the lynch mob that hunted him down.
The scene: Rod (Jsu Garcia) witnesses his girlfriend Tina (Amanda Wyss) meet a grisly end as she's dragged across the ceiling of her bedroom by an unseen force.

Lost Highway (1997)
The premise: A saxophonist is framed for the murder of his wife and sent to prison where he transforms into a young mechanic and starts his life afresh.
The scene: The Mystery Man (Robert Blake) confronts Fred (Bill Pullman) at a party and convinces him to phone his own house. When Fred obliges he hears the voice of the Mystery Man pick up his home phone, even though he's standing right in front of him.

Nosferatu (1922)
The premise: This silent classic chronicles the strange life of the vampire Count Orlok.
The scene: In a chilling example of German Expressionism at its finest, Count Orlok makes his way slowly up the staircase -- while the audience sees only his distorted shadow on the wall.

Silence of the Lambs (1991)
The premise: An FBI rookie must work with the infamous Hannibal Lecter in order to catch another killer on the loose.
The scene: Clarice (Jodie Foster) confronts Jame Gumb (Ted Levine) in his basement -- only to find herself abandoned in pitch black darkness as Jame follows her around with night-vision goggles.

Scream (1996)
The premise: A group of teenagers discuss the "rules" of horror films as students at their high school are systematically killed off one-by-one by a masked killer known as Ghostface.
The scene: The chilling opening sequence where Drew Barrymore receives harassing phone calls from an unknown assailant who quizzes her about her favourite horror films -- before brutally murdering her.

Halloween (1978)
The premise: A masked psychopath breaks out of an institution and stalks a teenage girl from his small hometown.
The scene: After emerging victorious from a faceoff with Michael Myers (Tony Moran), Laurie (Jamie Lee Curtis) breathes a sigh of relief -- while the seemingly dead Michael slowly sits up behind Laurie's shoulder.

The Exorcist (1973)
The premise: When a twelve-year-old girl is possessed by the devil, her mother enlists the help of two priests.
The scene: After stabbing herself in the crotch with a crucifix, Regan (Linda Blair) faces the audience by enabling her head to do a 360-degree spin.

The Exorcist III

The Exorcist III (1990)
The premise: A police officer respectfully acknowledges the anniversary of a priests death while, at the same time, trying to track down a vicious serial killer.
The scene: A nurse in a hospital checks a couple of rooms during a night shift when, in a genuine jump-out-of-your-skin moment, she's followed out of a room by a white-shrouded intruder.

The Thing (1982)
The premise: Scientists in the Antarctic discover a shape-shifting alien that takes on the appearance of its victims.
The scene: The alien, in human form, fakes a heart attack and, while the scientists scramble to save who they assume is their comrade, they are confronted with "the thing" itself in a shocking, terrifying, pre-CGI sequence.

The Shining (1980)
The premise: A family agrees to watch over a hotel that is closed for the winter season when an unseen force influences the father, pushing him to the edge of insanity.
The scene: While most would cite the twins in the hallway as the scariest sequence, there's also the simplistic slow zoom-in on Jack Nicholson's face looking out the hotel window as he slowly dissolves into madness.

Psycho (1960)
The premise: A young woman on the run stays at the isolated Bates Motel and meets the mother-fearing, socially inept owner.
The scene: No, not the shower sequence although that's terrifying in its own right. Lila Crane (Vera Miles) searches the Bates house for her missing sister (Janet Leigh), only to be confronted by the corpse of Mrs. Bates -- right before Norman (Anthony Perkins) bursts in to the room wearing a woman's wig and dress.

Jurassic Park (1993)
The premise: An ambitious millionaire creates a dinosaur theme park and, during a preview tour, a massive power outtage enables the prehistoric animals to rule the island.
The scene: A thunderstorm. A glass of water, trembling with each footstep. A T-Rex bites through an electrical fence and proceeds to attack the tourist cars.

Whatever Happened to Baby Jane? (1962)
The premise: A former child star jealously guards her more-famous older sister in a rundown mansion.
The scene: When wheelchair-bound Blanche (Joan Crawford) crawls her way to the telephone to make an emergency call, Jane (Bette Davis) discovers her calling for help and violently kicks her around the room.

Revisiting the Classics: Alfred Hitchcock's Psycho

Anthony Perkins as Norman Bates

"We all go a little mad sometimes." 

On Thursday night my friend suggested we check out a screening of Alfred Hitchcock's 1960 horror classic, Psycho, which was playing at a local theatre.

It had been awhile since I'd last visited the Bates Motel and its man-with-severe-mother-issues owner, Norman.

I actually can't recall the last time I'd seen Psycho which makes me think it has been at least five years, if not longer. So, watching it in glorious black and white on the big screen made it feel as though I were watching it for the first time. I'd forgotten about a couple of little twists and the fact that the script (based on the novel by Robert Bloch) was chock-full of great dialogue and slow, engaging character revelations. It truly is a masterpiece of suspense and thrills. And, regardless of how many times you've seen the film, its final twist and closing shot (see photo above) is still as mesmerizing and shocking as it undoubtedly was back in 1960.

A complex psychological thriller, Psycho is celebrated in film circles as one of Hitchcock's finest -- if not his greatest -- achievements (and whether or not you think that Vertigo is technically the better film is a debate worthy of a whole separate blog post). At the age of 61, Hitchcock cobbled together his now-classic shocker on a tiny budget in a matter of weeks. With Hitchcock's knack for building tension and influential stylistic flare, Psycho is as unsettling in its premise as it is a technical marvel -- what with all those unique camera angles, intimate close-ups of his cast and that famous image of Mama Bates' skull superimposed over the crazed face of Norman as the film closes.

But one of the true revelations in Psycho is Anthony Perkins in the lead role. I'd never fully appreciated his performance until this recent viewing. He commanded the screen with a charismatically awkward performance that, on the surface, made him appear as likeable as a young boy eager to please his friends or parents. "I think I must have one of those faces you can't help believing," he tells Marion Crane (Janet Leigh) early on in the film. And you, as the audience, totally fall for it too, just like Marion. Even though you know Norman has the capability to kill, he lulls you into feeling sympathy for him -- you may even catch yourself wishing he'll get the help he so obviously needs.

The role of Norman Bates could have easily been nothing more than a stock horror character. A villain without personality. Someone lurking in the shadows who ultimately leaves no lasting impression once the credits roll. But where Perkins excels is in his ability to make you realize that Norman Bates could be anyone. Literally. He could be the man sitting next to you on the subway, or the woman walking her dog down the street. He's not some Freddy Krueger-type fantasy-villain who would stick out like a sore thumb if you saw him in a crowd of people from across the street. Perkins, with his average-joe features and shy nature, totally inhabits the character of Norman Bates.

It's an all-around fantastic performance in an already perfect psychological thriller.