We need more directors willing to take risks with films like Get Out.
The most dramatic difference between Alfred Hitchcock's "Psycho" (1960) and Gus Van Sant's "shot-by-shot" remake is the addition of a masturbation scene. That's appropriate, because this new "Psycho" evokes the real thing in an attempt to re-create remembered passion.
Curious, how similar the new version is, and how different. If you have seen Hitchcock's film, you already know the characters, the dialogue, the camera angles, the surprises. All that is missing is the tension--the conviction that something urgent is happening on the screen at this very moment. The movie is an invaluable experiment in the theory of cinema, because it demonstrates that a shot-by-shot remake is pointless; genius apparently resides between or beneath the shots, or in chemistry that cannot be timed or counted.
Students of trivia will note the differences. The opening shot is now an unbroken camera move from the Phoenix skyline into the hotel room where Marion Crane (Anne Heche) is meeting with her lover, Sam Loomis (Viggo Mortensen).
There is a shot of Loomis' buttocks, and when he turns toward her, a quick downward glance of appreciation by Marion. In the scene in which Marion packs while deciding to steal the money, Heche does more facial acting than Janet Leigh did in the original--trying to signal what she's thinking with twitches and murmurs. Not necessary.