After pretty much determining the future of the Norman Bates character in the terrible third sequel, this fourth effort instead takes a look back at the most grotesque mother-son relationship in the history of cinema.For a basic plot summary, "Psycho 4" sees Bates (Anthony Perkins) call into a late-night radio show dealing with the crime of matricide. Through flashbacks, Norman describes the key moments of his childhood that eventually led him to become the strange character we all know.In terms of just overall plot and drama, this is a pretty good film. It paints a very interesting portrait of Mr. Bates, and ultimately helps us understand why he makes the major, final decision of his life at the film's conclusion. In comparison to other horror film sequels, this one stands up quite nicely.The major problem with the movie, though, are the parts set in the present-day. The huge plot hole is that the Norman Bates we see in this installment could seemingly never have emerged from the complete maniac present at the end of part three, with little to no explanation of the dramatic turnaround. Essentially, the flashbacks are intriguing but the "current" storyline goes lacking.Of course, a review of any "Psycho" film would not be complete without a critique of Anthony Perkins' performance, as he (once Hitchcock bowed out) become the face of the franchise. Though I have to give Perkins credit for turning in a spectacular performance (well, four of them really), there is also a hint of desperation that is kind of sad, considering that Perkins' only other notable career role is playing Jimmy Piersall in "Fear Strikes Out". However, that being said, I can't imagine the Psycho franchise without him.Thus, while this film isn't a classic by any means, it is decent horror/drama and a fitting wrap to one of the most psychologically-intriguing horror series of all-time. It still doesn't hold a candle to the original, but also doesn't drag things on like Halloween or Friday the 13th, either.

This is an enjoyable final chapter in the Psycho trilogy, returning Anthony Perkins one final time to the screen as Norman Bates, who this time calls into a radio station to tell his story about his mother to the DJ doing a segment on matricide.It's a intrigue-filled TV movie that cleverly tells the relationship between Norman and his mother and how her domineering and uncaring ways brought Norman to matricide and then, finally, to insanity. Henry Thomas plays a young Norman Bates well - convincing, vulnerable and edgy - and Olivia Hussey plays a Norman Bates with stunning beauty, yet with craftiness and spitefulness.While the movie focuses on the origin of Norman Bates' insanity and crimes (which I thought could have been made a little more creepy), the plot adds a twist to it in the part where the adult Norman (Anthony Perkins) tells the radio station that he intends to kill again, throwing everybody into added suspense. Everything then comes full circle to a fitting conclusion of the trilogy.Grade A-

Mick Garris delivers a film with visual flair and style, yet in this horror sequel, the lack of story is the most disturbing element.This is a film overly fascinated with back story – something that should be expected from a prequel, I suppose – however, this is why it crumbles. The wonderful subtext that was present in the original Psycho film and even the sequels, is now front and center. The abusive relationship between Norman and his mother is no longer left to the imagination, but is now displayed clearly as a main feature of the movie. While getting a chance to finally meet Norma Bates piques our interest, it could never possibly hope to do justice to all the build up from the last three films. (An over- dramatic performance from Olivia Hussey doesn't help.)The movie in some ways is representative of the Psycho franchise, an incredible opening, a slightly disappointing second act, an interesting and dazzling third, and a sputtering failure for the fourth.Henry Thomas gives a tremendous turn as a young Norman Bates, while Anthony Perkins does as well as he can with the material he's given. Overall, however, these performances and the slick visuals can't carry this generally overacted and poorly written TV drama.

I must say, a tormented mind is a terrible thing. For a fourth outing, you could of well expected this one to suck. It doesn't. This is a prequel, where we find out how Norman Bates's hell started. Of course, starring Henry Thomas as a young Norman Bates, wasn't the best of choices, as he really doesn't come off as a psycho. Leave that to the late great Anthony Perkins. Again, after 3, after another indeterminate stint in jail, etc, he's back out in society, and back in that big house at the fore of the infamous Bates motel. His wife, a nurse he must of met at the nuthouse, is expecting, so Norman's thinking what if another Norman pops out. He calls in a radio station, where a woman host (CCH Pounder-Sliver) is talking to a veteran psychiatrist about Matricide- murdering your mother. The guests before were a killer and the victim's father, who supports the killer, as his daughter was, which he referred to as a "World class bitch" which I've met a few of them in my time. On this unreality note, it doesn't despoil this solid drama at all. Norman is venting his killer impulses, threatening to kill again, where we go back and forth to Norman's childhood, (one young girl-a hottie with big, you know who has the hots for him, making the drive to this killer hotel). This is a sexy little chunk of the film, where wee see our young Norman is a bit of hit with the ladies, one much older, telling him during a pash, "You have a tongue like an elephant's memory" before becoming another of the deceased. I had never heard that intriguing term before. Young Norman was physically and mentally abused by his mother, sometimes, performing some degrading tasks and requests, like you hear with the childhood of these real life serial killers. Olivia Hussey is excellent, as the unstable and cruel mother. She has her moments which are scary, as in her change of moods. Things worsen, with the arrival of Mummy's new lover, who teaches young Norman to fight, but he wants no part of it. The flashback use of time is great here, as we really get to see what Norman's unstable environment was like. The movie becomes serious when the host shrink, outs two and two together figuring out the identity of the nutty and distressed caller. Anthony Perkins has still got it, where he never lost it as Norman Bates, and as the film nears the end it becomes a race against time. This fourth outing I think will surprise you. You don't expect it to be this good. It's quite a tense one and the back and forth flow is even Steven. It works, thanks to Hussy chiefly, where really it's not Perkins's movie, as he's not seen that much, only really when holding the line, engaging in his phone conversation, in between his cooking, using that big bad knife of course. The only downfall is the insufficient performance of Thomas, who like I said, really doesn't come off, that psycho, if only for a couple of moments, he'll have the hairs on your wrist standing up.