1) Psycho II (1983)
The concept of surpassing Alfred Hitchcock’s immortal 1960 film Psycho is near impossible for anyone to achieve, but this sequel – which follows a reformed Norman Bates (Anthony Perkins) as he returns to the Bates Motel upon his release from a psychiatric hospital – does an impressively strong job of updating that classic film in a way that is both respectful and ambitious.
Directed by Richard Franklin (Cloak & Dagger), Psycho II centers on the question of whether or not Norman will be driven back to his murderous ways, and its intricate plot makes sly references to its predecessor even as it sets up a chilling new tale of its own.
The introduction of Mary Samuels (Meg Tilly) – another lovely young woman, whose very name serves as an Easter egg for fans of Hitchcock’s classic – complicates Norman’s attempts to start a new life, and Perkins appears to have not missed a beat, returning to his most famous role like no time has passed. If anything, his performance is even more layered this time around, considering Norman’s fear of losing his grip on reality once again. The film forces viewers into simultaneously fearing and empathizing with the character, echoing his portrayal in the original film as the supposed victim of an abusive mother.
Moreover, the return of Vera Miles as the sister of Janet Leigh’s doomed Marion Crane from the first film sets up an interesting plot twist that almost certainly surpasses the expectations many fans may have for Psycho II. With the name recognition of Hitchcock’s film, this one easily could have coasted along on audience goodwill, but Franklin and horror screenwriter Tom Holland (Fright Night, Child’s Play) – not to be confused with the young actor playing the new Spider-Man – take great care in paying homage to what came before, while offering an exciting new chapter in Norman’s story. It’s just too bad that both subsequent sequels and the ill-conceived shot-for-shot 1998 Psycho remake have since tarnished the series’ big-screen reputation.