Psycho II (1983) Review:

Movies that end up becoming a smash hit at theaters are usually quick to crank out a sequel. It only takes a few years, tops or at minimum, one. However, it's when sequels get made years later that can make it a challenge. Alfred Hitchcock's Psycho (1960) of Robert Bloch's book was an innovative horror film for its time. It not only popularized the idea of "slasher" flicks, but created one of the most disturbing characters in film history. At the time, a sequel wasn't probably thought of being a thing. But with the 1980s being the decade of such genre films, the notion had resurfaced and a continuation of the original story was made. What's even crazier is just how well the story is written and executed on all accounts. Perhaps a little too well for its own good. It certainly was a sequel well worth waiting more than two decades for though.

Meg Tilly & Anthony Perkins

More than two decades have passed and finally, Norman Bates (Anthony Perkins) has been granted freedom and sanity after seeking help from psychiatrist Dr. Bill Raymond (Robert Loggia). On the other side, Lila Loomis, formerly Lila Crane (Vera Miles) is not happy with Mr. Bates release and wants to get him back in custody. Meanwhile, Bates heads back to his mother's house and tries to reintegrate himself into society by working at a diner. There he meets Mary (Meg Tilly), a young lady who's been dumped by her boyfriend needs a place to stay. Offering her a place, Bates begins receiving strange notes signed by his mother, thus freaking him out. Written by Tom Holland, future director of Fright Night (1985), Child's Play (1988) and Thinner (1996), the script does quite the job at bringing its audience back to the Bates state of mind. On top of that, with Richard Franklin directing this feature, seeing he had worked on other horror films like Patrick (1978) and Road Games (1981), his credits were valid.

Throughout the run time, there are lots of moments that can easily make the viewing experience engaging. From how Bates is getting notes from his dead mother, to how people end up dying around him when he knows he isn't doing it, or so he thinks. It's definitely something viewers will not be expecting because it's difficult to tell just what exactly is happening. This is to the benefit of the film, but also it's only flaw. While the screenplay has some interest twists, it can also lose the viewer easily as well without having a clear resolution. The cast though still perform well with everything they were given. Anthony Perkins as Norman Bates while brings back the character with ease, he adds another layer of humanity as he struggles between the right and wrong reality. Helping Bates in that struggle is Meg Tilly's character Mary. Being that female heroines had become a staple for horror films, Tilly's role is somewhat the antithesis of that and it works well. Seeing Vera Miles return as Marion Crane's sister was great to see too, one could understand why she would be frustrated with Bates' release.

Robert Loggia as Bates’ Psychiatrist is also believable seeing that he understands very easily what goes on around him. There's also appearances from Dennis Franz who plays a sleaze ball temporary owner to Norman's motel until he returned. It's Franz's character who helps show just how much Norman tries to keep his head on straight. Franz also had a role in Robert Altman's Popeye (1980). Hugh Gillin plays John Hunt, the sheriff of the town who looks like he does his best to maintain law and order. And there's Mrs. Emma Spool (Claudia Bryar) who is also the owner of the diner Bates begins working at. She's probably the only character who knew who Norman’s history, and immediately wanted to give him a second chance. That's rare considering how most people react to such dark histories.

Vera Miles

The visuals to this feature was crafted well too. While the black and white look of the first film helped in simplifying the experience, this sequel's camerawork was just as prominent. Handled by Dean Cundey, the cinematography very much follows the same style as John L. Russell's style from Psycho (1960). The only noticeable differences was that the movie was in color and occasionally some dutch angles were used. Cundey also shot for films like Halloween (1978) and The Thing (1982). Composing the film score to this feature was the legendary Jerry Goldsmith. Although some feel hiring anybody but Bernard Herrmann was a mistake, Goldsmith not only honors Herrmann's shower string theme, but also expands the music. Norman Bates now has his own motif, one that emphasizes just how unbalanced he is. It is very well constructed and performed on the piano, especially the expanded score.

In all honesty, this sequel is very much an even match to its predecessor. The only flaw it has is that the script, while well written, can be a bit to fully understand the first time around. But aside from that, the cast all perform great, the visuals and music are iconic in their own way too.

Points Earned --> 8:10