Numerous critics had already sharpened their knives even before Gus Van Sant's shot-for-shot color "re-creation" of the 1960 black-and-white Hitchcock classic was released; chiding the Good Will Hunting director for defiling hallowed ground. This intriguing cinematic curiosity; though; 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; it's to little effect. Granted; he liberally splashes color 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. And 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 caliber; watch it for the sum of its intriguing parts; but not the whole. --Mark Englehart