Gus Van Sant likes telling stories about troubled young men. He went on the road with them in My Own Private Idaho, then followed them into therapy for Good Will Hunting. And, thanks largely to the success of the latter, he amassed enough Tinseltown kudos to be allowed to turn his attentions to one of cinema’s all-time mama’s boys – the very troubled Norman Bates. The controversial result has been the most baffling movie sideshow of the past year, a “shot-for-shot”, full-colour “re-creation” of Psycho.
Read the full Psycho review
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