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Bates Motel - (S04E07)

Horror . Mystery . Drama

Bates Motel is a contemporary prequel to the genre-defining film Psycho, and gives viewers an intimate portrayal of how Norman Bates' psyche unravels through his teenage years.Following the tragic death of her husband, Norma Bates buys a motel on the outskirts of the idyllic coastal town of White Pine Bay, seeking a fresh start. As Norma and Norman get ensconced in their new home, they discover this town isn't quite what it seems, and the locals aren't so quick to let them in on their secrets. But the Bates' are done being pushed around and will do whatever it takes to survive - and will do whatever it takes to protect their own secrets.

Episode Title: There's No Place Like Home
Airs: 2016-04-25 at 21:00
  • Chuck Barney

    A compelling thriller.

    San Jose Mercury News/Contra Costa Times Full Review
  • Clark Collis

    The most believable character--and the real reason to check in to Bates Motel--is undoubtedly Farmiga's Norma.

    Entertainment Weekly Full Review
  • Ed Bark

    A&E's Bates Motel is both mesmerizing and sometimes absurd in its rewind to Norman Bates (Freddie Highmore) as a repressed 17-year-old.

    Uncle Barky Full Review
  • Bruce Miller

    This Bates Motel requires more than just a one-night stay. Once you slip in you may not want to check out.

    Sioux City Journal Full Review
  • Mary McNamara

    Three episodes in, the story is certainly serpentine, at times self-consciously so. But there does appear to be writerly method in the madness. More important, there is Farmiga, and she, like Norma, appears up to any task.

    Los Angeles Times Full Review
  • Joanne Ostrow

    All in all, its assured storytelling and fine performances give a worthy contemporary spin to a classic.

    Denver Post Full Review
  • Sara Smith

    It brings its own style of spine-tingling dysfunction to the screen.

    Kansas City Star Full Review
  • Nancy DeWolf Smith

    As odd as poor Norman is, there's something about Norma that gives Bates Motel its true, and truly frightening, center. Vulnerable and malign, Ms. Farmiga pretty much nails it.

    Wall Street Journal Full Review
  • Hank Stuever

    Bates Motel turns out to be a worthy reimagining of the Norman Bates story.

    Washington Post Full Review
  • Tim Goodman

    Expect a slow(ish) rollout for Bates Motel, as the first couple of episodes establish character and location, before things take an uptick during episode three. But there’s more than enough intrigue and entertainment--on top of Farmiga’s outstanding turn--to keep viewers wanting more of this new-style nonhomage to Psycho.

    The Hollywood Reporter Full Review
  • Curt Wagner

    Like "Psycho," it offers a deliciously scary stew of unexpected twists, murder and mind games.

    RedEye Full Review
  • Gail Pennington

    Bates Motel builds psychological scares rather than spooking us with haunted-house cliches. Following these characters to the end we can see coming should be a fascinating journey.

    St. Louis Post-Dispatch Full Review
  • David Wiegand

    For now, though, the credibility issues don't matter that much because we're more interested in the characters, who may not be all that credibly created themselves, but who are informed by Hitchcock's 1960 masterpiece.

    San Francisco Chronicle Full Review
  • Matthew Gilbert

    They’ve done a smart job of building a cryptic, threatening world around the disturbing relationship at its center.... Highmore is just right as Norman.... I’m less convinced by Farmiga, who doesn’t seem to have a strong fix on Norma’s motivations.

    Boston Globe Full Review
  • Rob Owen

    Bates Motel takes a few episodes to get going as the writers build the world of White Pine Bay, and the story appears poised to really kick into a higher gear with a revelation at the end of the third episode. Up to this point Bates Motel is an OK character drama, but in building the broader world it inhabits the show begins to come into sharper focus.

    Pittsburgh Post-Gazette Full Review
  • James Poniewozik

    Maybe the most encouraging thing about this intriguing but imperfect Young Norman Bates Adventures show is that, in a time when dramas are determined to hook viewers with rapid-fire twists, it takes its time answering.

    Time Full Review
  • Matt Roush

    Curiously compelling.

    TV Guide Magazine Full Review
  • Mark A. Perigard

    A&E reboots the legend of Alfred Hitchcock’s “Psycho,” but Bates Motel plays like a slow-burning riff on David Lynch’s “Twin Peaks” sparked by some fascinating, nuanced performances.

    Boston Herald Full Review
  • Alan Sepinwall

    The lead performances, and the way that relationship is written, are all excellent enough to stick around a little while longer in the hopes that Bates Motel as a whole becomes something more interesting. But a lot of that may also depend on what exactly Cuse and Ehrin want Norman Bates to turn into, and how quickly.

    Hitfix Full Review
  • Verne Gay

    The acting is solid all around--just not entirely convincing.

    Newsday Full Review
  • Tom Long

    Things go bad quickly, which is to be expected. The challenge with this show will be to keep it appropriately Crazy Town without letting it get Loony Bin bad.

    The Detroit News Full Review
  • Linda Stasi

    It ain’t Hitchcock, but it ain’t bad. Too bad it ain’t new.

    New York Post Full Review
  • Robert Bianco

    Were Bates Motel a movie, Farmiga and Highmore (who has Tony Perkins' troubling, sort-of-smiling stare down cold) might be able to keep you tied to these damaged creatures through to the end of the film. But for a series, these do not feel like ties that bind.

    USA Today Full Review
  • Alessandra Stanley

    Bates Motel has a talented cast and a memorable back story that guides, but doesn’t limit, the narrative, and at its best it’s intriguing and enjoyably grim. But even more than Norman, the series itself has a split personality, a Hitchcock classic grafted onto a much more mundane brand of suspense. Each new twist moves it further from “Psycho” and closer to Nancy Drew.

    The New York Times Full Review
  • David Hinckley

    It could be problematic that we know almost no one here will live happily ever after. But while it could head down several wrong highways, it could also give us a nice creepy ride.

    New York Daily News Full Review
  • Ellen Gray

    Whether other people's secrets will prove to be as interesting as the intimations of Norman's not-so-sweet future remains to be seen.

    Philadelphia Daily News Full Review
  • J.C. Macek III

    Bates Motel isn’t Hitchcock, and doesn’t try to be. But the show does make intelligent use of what you already know about Norma and Norman in their efforts to “start over.”

    PopMatters Full Review
  • Matt Zoller Seitz

    I’m torn between condemning the series for piggybacking on a classic and promising an origin story it doesn’t really care to deliver, and praising it for avoiding the homicidal Muppet Babies formula and pulling a pretty brazen bait-and-switch.

    New York Magazine (Vulture) Full Review
  • Tom Gliatto

    The show is overworked and overthought. [25 Mar 2013, p.43]

    People Weekly Full Review
  • Brian Lowry

    To their credit, the producers do keep things interesting, for the most part without resorting to the cheap tricks that have characterized the vastly overrated “American Horror Story.” Nevertheless, the premise becomes its own creative prison, fostering a hurry-up-and-wait attitude as the story metes out its examples of the things that make this duo, well, different.

    Variety Full Review
  • Maureen Ryan

    All in all, the stories about the town feel somewhat contrived, and the lead characters' arcs feel predictable, despite the texture the actors are occasionally able to give the material.

    The Huffington Post Full Review
  • Chuck Bowen

    Greater offenses have been committed in the name of Psycho, such as the regrettable Psycho III, but this series might be less forgivable for the egregiously pandering waste of talent and potential on display.

    Slant Magazine Full Review
  • Tirdad Derakhshani

    Farmiga and Highmore give solid performances as Norma and Norman Bates. But they're working with inferior material.

    Philadelphia Inquirer Full Review
  • Glenn Garvin

    Having started with a bad premise, producers Carlton Cuse and Kerry Ehrin then made it infinitely worse by rejecting the loneliness and isolation that were the nucleus of Hitchcock’s film.

    Miami Herald Full Review

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