Gus van Sant's controversial remake of Alfred Hitchcock's classic thriller is an almost shot-for-shot replica of the original. Eager to leave her old life behind, Marion Crane (Anne Heche) steals a large amount of money from her boss and takes to to the road. As night falls, and after having driven all day, the combination of rain, tiredness and regret causes her to stop at a roadside motel and take a room for the night. She then briefly shares some food with the motel manager, Norman Bates (Vince Vaughn), before going to her room to relax and take a shower... Numerous critics had already sharpened their knives even before Gus Van Sant's shot-for-shot colour "re-creation" of the 1960 black-and-white Hitchcock classic was released, chiding the Good Will Hunting director for defiling hallowed ground. But this intriguing cinematic curiosity is hardly as sacrilegious as critics would lead you to believe. If anything, Van Sant doesn't take enough liberties with his almost slavish devotion to the material, now updated with modern references. At times, you wish Van Sant would cut loose with a little spontaneity, a little energy, a little something. Unfortunately, when he does venture outside Hitchcock's parameters--with inserted shots of storm clouds during the murder sequences, for example--it's to little effect. Granted, he liberally splashes colour throughout the film (especially in the case of the infamous shower scene), and this is a great-looking movie, but in his obsession with adding a new physical dimension to the film, there's little insight into these characters that Hitchcock hadn't already provided. Vince Vaughn, a robotic and giggly Norman, doesn't crawl under your skin the way boy-next-door Anthony Perkins did, and Anne Heche is admirable if not very sympathetic in the Janet Leigh role. Van Sant does score a minor coup, though, in his casting of the supporting roles: Julianne Moore provides a welcome shot of energy as Heche's irritable and curious sister, William H. Macy is a perfect small-time detective, Viggo Mortensen is studly enough to make you understand why Heche would want to run away with him, and James LeGros walks away with his one brief scene as a used car salesman. Danny Elfman's gorgeous rerecording of Bernard Herrmann's score is a potent supporting character unto itself. Students and fans of the original film will get a kick out of the modern revisions, but don't expect anything of Hitchcockian calibre; watch it for the sum of its intriguing parts, but not the whole. -- Mark Englehart,