jadavix "Patrick" is a classic of cult horror; the unique premise secures its status in this regard. Unfortunately most of its attempts to generate suspense and shock fall flat until the very end, though it does manage an atmosphere of discomfort.The titular Patrick is a man in a coma after murdering his mother and another man. How he got into the coma is unexplained: in fact, the movie does a better job of explaining the fantasy that he now has telekinesis. He lies as a vegetable in his hospital bed, his fierce blue eyes frozen open and unblinking. But he can spit.The new nurse, played by the stunningly beautiful Susan Penhaligon, immediately establishes a rapport with the patient that all other hospital staff consider dead. He responds to her speech with "tut tut" sounds, and soon communicates through a typewriter in one particularly effective scene.Less effective is the scene where a playboy doctor, having encroached on Patrick's territory with his babin' nurse, almost drowns due to Patrick's telekinesis. This scene isn't shot convincingly and looks like a man deliberately thrashing around until the assistant director tells him to stop. Is there a convincing way to film such a scene, especially so early in the movie? The script should have saved such a terrifying example of Patrick's reach for the later stages of the movie, and focused on establishing his rapport, and lesser examples of his talents, at the beginning.This is still a cult classic. Flaws like those will always be overlooked in favour of a unique concept which I believe "Patrick" delivers. And if you want more "psychopathic telekinetic vegetable" action, don't miss the unofficial, pure rip off "sequel", "Patrick Still Lives", which ups the sleaze quotient by a factor of 11!

tomgillespie2002 After the phenomenal success of Brian DePalma's Carrie (1976), telekinesis was used as a device for the horror genre in a number of films, including The Spell (1977), The Fury and The Medusa Touch (both 1978). Also released in 1978, this little-known Australian inclusion to the genre, Patrick, uses the titular character in a totally unique way than all others. Patrick (Robert Thompson) spends the entire film static in a hospital bed, his eyes wide open, starring consistently forward - very creepy. In the opening, we see Patrick's mother cavorting with a man she just met in her bath. Patrick walks in with an electric fire and throws it into the water. three years since this event, Patrick has been in a coma.Set in a contemporary hospital setting, the ward for catatonic patients has its sisters and matron, Matron Cassidy (Julia Blake) hires English girl, Kathy (Susan Penhaligon), who becomes Patrick's personal nurse. As she spends more time with him, he begins to communicate, first through spitting, then, he speaks through a type-writer. As Kathy's personal life becomes intertwined with Patrick's emotions, he begins hurting the people around her that have upset her, including her ex-husband and the Matron.It's an interesting, if slightly ludicrous idea, that has been well executed by first-time horror director, Richard Franklin, who went on to direct firstly in Hollywood, with Psycho II (1983), and then in the United Kingdom with Link (1986). The relationship between Kathy and Patrick do also display some charming moments of pathos, but the film also has its moments of humour (some unintentional), particularly with Doctor Roget. Played by Robert Helpmann (many will remember him as the horrific Child Catcher in Chitty Chitty Bang Bang (1968), he seems to be possessed at moments by the madness of Kinski, with his wild obsession with the titular patient. Worth it for Helpmann alone, but nevertheless a genuinely exciting film, raising subtly issues around euthanasia.www.the-wrath-of-blog.blogspot.com

AngryChair The later 70's saw a handful of films about people with psychic powers, but this little-known thriller from Australia may just be the most unique of them all.Nurse comes under the spell of her seemingly comatose patient, whose intense psychic powers are menacing the people around her.Patrick is a bizarre, yet oddly moving film that benefits strongly from its off-beat and ultimately unpredictable story. It's a tale that manages to side-step clichés to become not only a brooding chiller, but a weird love story as well. There's an occasional good bit of suspense and shock that keeps the tension high. The story also possesses a strange sense of the erotic. Granted, the plot is a bit slow in pace but Richard Franklin's direction and a good cast help to carry it well.Star Susan Penhaligon does a throughly good performance as the films heroine/victim. Rod Mulliner is good as Penhaligon's troubled husband, as is Bruce Barry as her boyfriend. Robert Thompson is also a stand-out as the films menacing title character. Even though Thompson spends most of the film lying in silence he still conveys a threatening presence, he's just that good of an actor.For those seeking a left-field thriller that's thoughtfully well done, Patrick may just be your date.*** 1/2 out of ****

yvonnerutherford I saw this film when I was in my teens and I have to say the whole thing really freaked me out! The tuna casserole thing was very minor to what happened later; not for the faint hearted! Great performance of a very scared person by Susan Penahligon (currently residing in the 'where are they now' file). Not sure how I would feel now watching it some 20 odd years later, might give it a whirl (probably think it's lame now)! I am sure children today would think so, after all, I was completely shocked at the age of about 14 by the sight of a guy's head exploding at the beginning of Scanners!