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9

PipeCApr 11, 2019

Bordering on brilliance, Guadagnino turns into Gaspar Noé and Darren Aronofsky in gut-wrenching new take on the giallo classic.

Don't hold your breath anymore, this new "Suspiria" is sheer atmosphere, austerity, and shock. Even if ArgentoBordering on brilliance, Guadagnino turns into Gaspar Noé and Darren Aronofsky in gut-wrenching new take on the giallo classic.

Don't hold your breath anymore, this new "Suspiria" is sheer atmosphere, austerity, and shock. Even if Argento himself considers it "betrayed the spirit of the original," it is one of the few rare slices of slow-burning horror as gorgeously gruesome as coldly visceral, as life-threatening and powerful as to set up itself as a polarizing modern masterpiece. It owns you, you try to get used to it and you're in; you fight back and I assure you that you will suffer even more than this savagely beautiful nightmare's ill-fated "innocents".

The script of American David Kajganich is like firewalking, every footstep is a new challenge that pushes you to move forward. The core premise itself is already more than appealing: prestigious dance company, omens, sacrifices, hierarchies, secrets and a glorious, over-the-top witches' Sabbath. Kajganich creates, however, more complex situations, leaves open some metaphorical sequences and, even though he doesn't turn characters into true humans, makes them more assertive to keep the viewer hooked. Of the six chapters and the epilogue the film is divided into— with such precise title cards that ridiculously mean each 20-minute division, —three are still in my mind brighter than ever, and even if the ending section hurts its modern masterpiece status, each chapter is maximized by a magnanimous Tilda Swinton and a resurgent Dakota Johnson.

As of today, it's already a tradition that from any of the film festivals comes a film that means an unforgettable experience, whatever the reason may be. Generally, they employ and/or deal with similar subjects: explicit violence operating in at least one sequence that makes the audience so uncomfortable that many leave the theater; uber-sensitive matters treated openly; to turn the viewer into a masochist or a voyeuristic, —that, and get one of the lowest grades on CinemaScore®. Darren Aronofsky owned that position with "mother!" two years ago, a multi-layered masterpiece of biblical and environmental metaphors. 2018 was an interestingly competitive year, with "Annihilation" and "' The House That Jack Built ' vying for the label. All the signs were that "Hereditary" was going to be the champion, but Amazon shot at Venice last September, obtaining statim the trophy. Poeticized by Sayombhu Mukdeeprom's glorious cinematography— Academy, cruel snub, —the imagery unfolded here is indelible, hair-tossingly fearless, and primitively spine-tingling. Within the walls of the Markos Dance Academy, life is given for art, dancers hiding out from the strong political and social storm out there, willing to spiral down into this infernal place; do anything for the sake of dance! Oppressively toning down from brown to gray, the film keeps its tone until the ending nightmare comes in, which replaces visions, dance sequences, rehearsals and upsetting developments with a slow-burn scarlet revelation. Occultism, witchcraft and awakening become flesh and blood in about twenty minutes, which also means sure sleepless nights. Walter Fasano's editing work is equally commendable, adapting to its profuse narrative and taking your breath away.

There's no room for doubt: what Guadagnino and all his talented crew have made is an achievement in capital letters. Cinematographically, it gives a perfect demonstration on how to present innovatively a point of view/original idea, no matter how insane it is. To exemplify one of the many pitch-perfect mixed moments between excellent sound editing, Thom Yorke's virtuoso score, cinematography, production design, performances and choreography itself is the most visceral, diabolically cruel dance sequence, if you already had the pleasure to see it, you know what I'm talking about; the masochistic initiation seance this new arty classic delivers is simply brutal, definitely not one for everyone. As odd and unnatural as intimate and predatory, the camera movements, angles and framing, particularly in the raw rehearsals, are brilliantly clever, passive or aggressive according to need, orchestrating an increasingly compelling whole. Leave skepticism and apathy behind, warm up and let's dance. "Suspiria" by Luca Guadagnino conjures up an unexpectedly political, obsessively disturbing and blistering chiller. Clearly, the most personal movie for the author yet, this standalone interpretation of Dario Argento's giallo classic is a blend of "Black Swan" and "mother!" starring a coven of witches. This unforgettable, masterful new take within the Markos dance academy values and respects its legacy, while at the same time, pushes the original to more terrifying, darker places, rising an experience like no other.… Expand

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5

portmanteauNov 15, 2018

All the goodwill and hard work done in the movie is frittered away in the final act. There's some beautiful moments in this film, astonishing production design and cinematography, beautifully crafted tension,and some hypnotic ambiguity. ButAll the goodwill and hard work done in the movie is frittered away in the final act. There's some beautiful moments in this film, astonishing production design and cinematography, beautifully crafted tension,and some hypnotic ambiguity. But that all gets chucked out the window with an unintentionally comedic crescendo. Which tonally drives off a cliff.… Expand

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9

LatinCritic13Nov 7, 2018

Mother Suspiria is a gory arthouse classic. And be warned, because this film will make you itch in every core of your body as you see and experience the horror and mystery of Luca Guadagnino's take of Suspiria.

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10

javidjentFeb 11, 2019

You stand in front of a movie that saves the quintessencial of the original plot and boldly creating a fresh new concept that lives by its own merits and you should definitely check out at your nearest Cinema. Btw excellent soundtrack thatYou stand in front of a movie that saves the quintessencial of the original plot and boldly creating a fresh new concept that lives by its own merits and you should definitely check out at your nearest Cinema. Btw excellent soundtrack that should'nt be missed.… Expand

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10

WillyDeeFeb 5, 2019

After watching and thoroughly enjoying "Call me by Your Name", I was excited to see Luca's remake of Suspiria. I had never seen the original Suspiria, so I watched that first and PERSONALLY was not very impressed. There was definitely aAfter watching and thoroughly enjoying "Call me by Your Name", I was excited to see Luca's remake of Suspiria. I had never seen the original Suspiria, so I watched that first and PERSONALLY was not very impressed. There was definitely a beautiful and unique directorial styling present from Argento, but it just didn't resonate with me. I can see how it is regarded as a classic horror film. Well, just watched the new re-make from Luca the other night - I feel that the setting is important for movies like this one. Dark room, uninterrupted, and paying close attention in order to take in the subtle nuances that legendary directors like Luca weave into their films. 65" 4K Samsung, 5.1.2 Dolby Surround, Etc.
I was deeply affected by this movie in many different ways. I loved the cinematography detail, variances, and creativity such as 6 rapid fire angles of someone simply taking the cap off of a pen. Beautiful and original. It feels like every item in the room is acknowledged by the camera and intended for the audience to be admired. The shapes of the walls, the potted plant on the end table, a reflection from the polished tile floor.. I also love how "extras" in this movie are not always in the background - sometimes they will stroll right through the middle of a shot and give the scene realism and dimension. When Susie enters the front entrance of the dance studio near the end, 3 seconds later you see a car drive off in the background with a drone of the distant engine, giving you a glimpse at how she came to be there, it has backwards motion to it. Love small details like this.
Tilda is unreal.. superb. The entire cast was phenomenal. I was a believer the whole movie. The soundtrack was fantastic, how cool to have Thom Yorke write the score.
Luca is daring, pushing boundaries constantly with his story telling. I also love his hesitation in using CGI - I would avoid it at all costs too. Not that this movie has no CGI, but he avoided it whenever possible. Bravo Luca!! Some may call one particular part in the movie over the top, but I was disgusted and spellbound. It worked on me, one of the many emotional states that this film provokes in you - all different.
I have never understood why people have an emotional reaction to cry because of a movie, just never been there, but this movie gave me that feeling near the end. Just broke my heart.
I was speechless after this movie, big fan! Maybe it helped that right before this movie I watched Harold and Kumar go to White Castle...… Expand

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10

GinaKNov 5, 2018

If you are a connoisseur of horror and love the subtler classics like Picnic at Hanging Rock and The Haunting of Hill House (1963 version), you will love the new Suspiria. It is macabre, subtle, historical, psychological – and beautifullyIf you are a connoisseur of horror and love the subtler classics like Picnic at Hanging Rock and The Haunting of Hill House (1963 version), you will love the new Suspiria. It is macabre, subtle, historical, psychological – and beautifully directed by Luca Guadagnino and acted by a terrific cast that includes Tilda Swinton and Dakota Johnson. I can’t remember a film of any kind that kept me so constantly on edge throughout.… Expand

1 of 1 users found this helpful10

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8

frankrog29Jul 1, 2020

I would give Suspiria an 8.5/10. Much like David Lynch’s movies, this film is an experimental fever dream in which you can get lost (in a good way). The first time I saw it, I liked it, but not that much. The dialogue and plot are not alwaysI would give Suspiria an 8.5/10. Much like David Lynch’s movies, this film is an experimental fever dream in which you can get lost (in a good way). The first time I saw it, I liked it, but not that much. The dialogue and plot are not always easily discernible. The characters often speak in German, and though there are subtitles, you often have no point of reference for their topics of discussion. The second time I watched the movie, however, I didn’t have to focus on figuring out the plot as much, and I was able to enjoy the film much more. Also, by the second viewing I had already listened to Thom Yorke’s gorgeous score many times. It complements the action surprisingly well and makes the film that much more enjoyable. Overall, Suspiria is a beautiful (and horrific) movie that requires repeat viewings to really understand and feel. You can tell Luca Guadagnino really poured his heart and soul into the film. In addition, Suspiria is the first film in which I have seen Dakota Johnson star. She’s a talented actress. Her dancing in the film is really impressive; indeed, the choreography in the film is visually stunning and exciting to watch. And it goes without saying that Tilda Swinton is excellent.… Expand

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7

Voodoo123Jul 16, 2019

+ Great multi lingual cast
+ Fascinating concept
+ Excellent auditory moments + Atmospheric tension is potent in places - Some pacing issues - Some distracting visual effects break the atmosphere Suspiria exhibits some excellent visual+ Great multi lingual cast
+ Fascinating concept
+ Excellent auditory moments
+ Atmospheric tension is potent in places
- Some pacing issues
- Some distracting visual effects break the atmosphere

Suspiria exhibits some excellent visual storytelling doing well to avoid oversimplifying the plot with too much exposition. Sadly this weighty creepy atmosphere at times becomes compromised by the overuse of directly lit make up effects and some distracting retro stylised visual effects that simply broke tension that otherwise built up so effectively for me.... ALMOST a modern classic horror movie but essential viewing for genre fans.… Expand

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7

MattBrady99Nov 7, 2018

LIFF32 (2018) #1

“This isn't vanity! This is art!” ‘Suspiria (2018)’ is one of those movies that you initially thought were “okay”, but hits you so damn hard when reflecting. I wouldn’t even consider it a remake, because in terms of styleLIFF32 (2018) #1

“This isn't vanity! This is art!”

‘Suspiria (2018)’ is one of those movies that you initially thought were “okay”, but hits you so damn hard when reflecting. I wouldn’t even consider it a remake, because in terms of style and execution there’s a massive difference. After eavesdropping to a mix audience, which itself speaks volumes for what type of movie this is. I was slightly underwhelmed at first, if I have to be honest. I really didn’t know what to think and if I enjoyed it or not. After letting the madness settle in, it’s growing on me.

The filmography of Luca Guadagnino is interesting to say the least. How do you go from a gay indie flick about a teenager exploring his sexuality in ‘Call Me By Your Name’, to ‘THIS’. Still, Luca made a wise decision of not duplicating the original and instead going for his vision. His visual flare is present and approves certain areas from 1977 version.

The deaths are more brutal and horrific to watch. There’s plenty of scenes that got under my skin and some of it wasn’t anything graphic. Plus the atmospheric score that shook up the room, literally. I’ve only seen two films from Luca Guadagnino, but he’s a director to look at for.

This guy directed one hell of a finale.

The cinematography is striking and contains old school zoom in - which adds to the tense tone. Also the sound work is absolutely fantastic and detailed with everything. Sharp objects, movement in dance, bone cracks, etc.

I'm thrilled to see Dakota Johnson in something that isn't ‘50 Shades’. She’s a good dancer as well. Tilda Swinton is great as always and insane she’s playing three different roles in the film. One being Madame Blanc, Helena Markos, Dr. Josef Klemperer (the old man). Originally credited as Lutz Ebersdorf, there was rumors since filming started that it’s Swinton in disguise, which I already guessed from seeing leaked images on set. Something about it I knew didn’t look right. It’s similar to ‘The Grand Budapest Hotel’, just more secretive.

Most of the time it worked and she nailed down the ‘hard to reach’ movement for any old person. Anytime there’s a far away shot, you wouldn't’ guess it was her. However, the character mini-subplot wasn't that interesting and dragged the pacing down, in my opinion. Whenever Klemperer interacts with other characters in therapy sessions or meet ups, it wasn’t too bad.

Some of the make-up was good when used effectively and isn’t showy. The other half looked pretty bad and painfully noticeable. The visual effects are really awful and took away the insanity, because of how unfinished it was. I mean, decent practical effect’s would’ve been better.

Despite my issues and still having mix feelings about it - the movie really dose haunt your thoughts long after it’s over. Almost like a spell. Check it out if this is your type of movie, but not for everyone.

Overall rating: “Higher!”… Expand

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8

sachineldhoNov 10, 2019

Really good. But couldn't live up to the expectations of original Suspiria.

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8

chicconate95Feb 7, 2019

Dario Argento's Suspiria was something unbelivable.-The Guadagnino's one is a perfect mix of suspense and fear, it's a complete movie with a strong balance between scary scenes and spookiness. Great movie with great actors.

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8

JLuis_001Feb 2, 2019

Needless to say, when people heard about a remake of Suspiria, a lot of them lost their minds. Although Argento's film became a horror classic, it was never a great film, but I won't get involved in that matter.

I don't really want to expandNeedless to say, when people heard about a remake of Suspiria, a lot of them lost their minds. Although Argento's film became a horror classic, it was never a great film, but I won't get involved in that matter.

I don't really want to expand my opinion a lot, but I must mention that this film left me incredibly happy and satisfied. The colors of the original film contrast in a brutal way in the cold and gray visual tone of this remake/reimagination.
The level of the director is superior to Argento's and what to say about the story; Much darker and frontal and although it has certain details - like the political narrative - honestly I never had a moment of boredom in this huge story of almost two and a half hours of duration.

Tilda Swinton is spectacular and although Dakota Johnson is the protagonist and she really doesn't do a bad job, the character you will remember and talk about the most is Tilda Swinton's and if you consider that she also plays the horrifying Helena Markos and Doctor Josef Klemperer, I can say easily that this film belongs to her.

What more can I say? This film will go to my collection immediately. It's not perfect but boy did I enjoy the full voyage.… Expand

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8

RaduAMar 13, 2019

80/100

Ok ... a strange movie but in a good way. The story is quite interesting, but how it's put on the screen is even more interesting. I did not see the original movie but I realize this movie uses many elements from it. The80/100

Ok ... a strange movie but in a good way.
The story is quite interesting, but how it's put on the screen is even more interesting. I did not see the original movie but I realize this movie uses many elements from it.
The cinematography is good, the acting is good, the soundtrack is good. Yeah ... this movie is pretty good.… Expand

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8

YelmerMotmansNov 19, 2018

Luca Guadagnino's Suspiria is beautifully directed and is able to keep the viewer interested, even with a considerable feature length. The film is very atmospheric thanks to the sombre colour palette and the setting. The music of Thom YorkeLuca Guadagnino's Suspiria is beautifully directed and is able to keep the viewer interested, even with a considerable feature length. The film is very atmospheric thanks to the sombre colour palette and the setting. The music of Thom Yorke is undoubtedly one of the best soundtracks of the past year. Suspiria is designed for a very limited audience and is therefore not appreciated by most viewers. The acting, however, is solid. Especially Tilda Swinton and Mia Goth are at their best here. The twist during the finale and how it was portrayed, is the biggest flaw of the film. The conclusion is not very consistent with the storyline. There are also a lot of background storylines going on, and the purpose of them may not be clear to the viewer. Suspiria is very stylish and sticks with us for a long time. The viewer may doubt afterwards whether this is a good or a bad film, but in any case encourages the viewer to think about it, even days after he has seen the movie.… Expand

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6

marcmyworksNov 16, 2018

Oh boy, so I would say the first 2 hours of this film build a great deal of tension and have gruesome, original effects, however the last half-hour takes a wrong turn and becomes a cheesy arthouse mess. Dakota Johnson to me was the wrongOh boy, so I would say the first 2 hours of this film build a great deal of tension and have gruesome, original effects, however the last half-hour takes a wrong turn and becomes a cheesy arthouse mess. Dakota Johnson to me was the wrong casting choice for Susie Bannion as she delivers her lines without conviction. Overall the biggest crime of this remake isn't the disjointed story or the unlikeable characters but rather the ambiguous narrative that most independent horror directors nowadays use, which I find to be lazy.… Expand

3 of 4 users found this helpful31

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10

easterfieldsNov 4, 2018

The 1977 Susperia, along with the original Solaris and Blade Runner are in my top 10 favorite films of all time. There's a reason for me mentioning the other two films, of which I'll elaborate in a moment. Firstly, however, I need to make oneThe 1977 Susperia, along with the original Solaris and Blade Runner are in my top 10 favorite films of all time. There's a reason for me mentioning the other two films, of which I'll elaborate in a moment. Firstly, however, I need to make one point right off the bat. This is NOT a horror film (yes HORROR) for the impatient. Sadly, most of today's audience are products of the Social Media age. Where everything is quickly served and spoonfed on a silver platter. Instant gratification has changed how we view and appreciate books, television, film and video games. Sometimes the best rewards are earned, and in the case of 2018's Suspiria, one has to truly pass through the eye of it's needle to appreciate all the layers of the artistic masterpiece. This is NOT a remake of 1977's Susperia. It's more akin to being a spiritual successor while maintaining a wholly unique vision and re-imagining of the original. This is why I love it. In essence it's similar and yet different. It's connected to the original in the sense that if the 1977 Susperia is a vibrant, colorful explosion of style and substance, then this film is the muted, noir-like, implosion of similar aspects acting as the negative exposure to the original. Another side of the same coin. The director knew it would be foolish to rewrite the blueprint. So he set out to create somethng new which still paid homage to the first. This is why I mentioned Solaris and Blade Runner at the beginning. Because both films have also spawned sequels that were impressive fresh takes on the ancestral subject matter while still delivering a newly envisioned experience. This is incredibly rare and sadly not valued nearly as much as it should be. In a world full of tired retreads, a new visionary experience such as this, should be celebrated. Not everyone will appreciate or even like Suspiria. But then not everyone valued the original for the rich, colorful tapestry that it was. This film lingers like yesterday's rain. It finds a dark corner of your brain and resides there for days. Not because of what it shows, but because of what it implies...… Expand

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9

cabby_patataNov 3, 2018

Instead of creating a film with unoriginal and flavourless scares, Guadagnino injects style and ghastly flare into Suspiria, forming a complex and meaningful plot with images that will occupy your mind long after the credits role.

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1

TVJerryNov 7, 2018

Dakota Johnson stars as an American who joins a dance troupe in '70s Berlin. Turns out there's an undercurrent of witchy evil that pervades the place. What follows is 2 hours of slow, pretentious, atmospheric drama that leads to the messy,Dakota Johnson stars as an American who joins a dance troupe in '70s Berlin. Turns out there's an undercurrent of witchy evil that pervades the place. What follows is 2 hours of slow, pretentious, atmospheric drama that leads to the messy, bloody, ultimately disappointing climax. That's 152 minutes of wretched waste. The only interesting aspect of this film is that Tilda Swinton plays 2 roles: the choreographer (as a woman) and a well-disguised male physiatrist (who's billed as Lutz Ebersdorf). The worst movie of the year (so far).… Expand

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10

PanchogulJan 17, 2019

This review contains spoilers, click expand to view. Buenísima, algo totalmente diferente a la versión de Argento ya que Guadagnino creo su propia versión, excelentes actuaciones,fabulosa escenografía y banda sonora, el argumento esta bien pero me hubiese gustado saber un poco más de cada integrante del aquelarre en eespecial de Miss Griffith que realmente llamó mi atención, por otro lado, no encuentro que sea una película que asuste, pero si tiene la capacidad de absorberte y perturbarte por completo, fue mejor de lo que esperaba … Expand

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4

Bertaut1Dec 2, 2018

Politically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity

A remake of Dario Argento's 1977 giallo classic, Luca Guadagnino's Suspiria has an intricate plot covering all manner ofPolitically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity

A remake of Dario Argento's 1977 giallo classic, Luca Guadagnino's Suspiria has an intricate plot covering all manner of themes and topics, and featuring several new characters. Seeing itself as a psychoanalytical investigation of national trauma and World War II guilt, an exploration of female sexuality, a celebration of a self-contained matriarchy set against the destructive chaos of a failing patriarchy, its rather an overlong, dull, self-important, incoherent mess.

Set in "Divided Berlin", the film follows Susie Bannion (Dakota Johnson), a Mennonite from Ohio who is admitted to the prestigious Helena Markos Dance Academy by lead choreographer Madame Blanc (Tilda Swinton). Meanwhile, whilst also investigating the Academy, Dr. Josef Klemperer (Tilda Swinton, credited as Lutz Ebersdorf), is trying to find what happened to his wife, Anke (Jessica Harper), who disappeared in 1944. At the academy, the coven of witches who run it are holding a fractious election for leader.

Set in October 1977, against the backdrop of the German Autumn, it's in relation to politics where we encounter the first problem. Guadagnino, working with screenwriter David Kajganich, employs a pseudo-Jungian approach to show that the country's political turmoil runs parallel to the struggle for control of the coven. The once harmonious group has now devolved, just like Germany, into factionalism, political manoeuvring, subterfuge, and animosity. But to what end does he make this parallel? What is he trying to say? None of the political symbols inform any grand thematic statement.

Another problem is Klemperer, who's not in Argento's original. In a story ostensibly about the Feminine, it's rather troubling that the emotional core is male. The film's preferred point of view is his, with even the epilogue focusing on him. He is quite literally a man in a woman's world.

Which brings us to another theme; femininity. As Klemperer is played by Swinton, the film effectively has an all-female cast, however, it isn't interested in idealising female empowerment. Instead, it depicts a matriarchy beset by disruption and the chaos of a struggle for power. However, there's a very thin line between condemning the male gaze and recreating it, and it's a line which Suspiria frequently crosses. Maybe the problem here is simply that a story about matriarchy, female empowerment, and motherhood, is a story a man can't tell very well. I'm reminded of Sofia Coppola's remake of The Beguiled (2017), of which she argued, "this story had to be directed by a woman. The essence of it is feminine, it's seen from a female point of view." Suspiria also has a feminine essence, but it doesn't have a female point of view, and one can't help but wonder what a talented female director like Coppola, Mary Harron, or the genius that is Lynne Ramsay would have made of this material.

However, even aside from these problems, there are a plethora of other issues. The character of Blanc is poorly written, and is stripped of agency towards the end of the film. As for the matrons, apart from Tanner, none receive an iota of characterisation. The same is true of the dancers. The film is also immensely silly in places. For example, the climax is presided over by what can only be described as a female Jabba the Hut wearing sunglasses.

On the plus side, there's a great deal to admire aesthetically. Walter Fasano's editing is disjointed and cinematographer Sayombhu Mukdeeprom's compositions often give a less than perfect view of a particular space. Combined, these two techniques are disorientating and frequently defamiliarising. Especially noticeable is the film's colour, or lack thereof. Whereas Argento's original was awash in garish and exaggerated reds, purples, blues, greens, and yellows, Guadagnino's remake was conceived as "winterish", with as limited a use of primary colours as possible; grey, beige, and brown predominate.

Self-indulgent like little else I can think of, Suspiria is absolutely convinced of its own profundity. Far, far too long and far too self-serious, its themes and messages are poorly iterated. The slight story at the film's core (a coven of witches using a dance academy as a front hold an election) is unable to bear the massive weight of themes heaped upon it; the vehicle just can't carry the message. Its politics are no more insightful than tabloid headlines, and serve only to detract from what is supposed to be the narrative's focus. Ultimately, it has little to say about femininity, feminism, political protest, the Holocaust, Cold War Germany, or World War II guilt, but it sure works hard to convince us it has a great deal to say.… Expand

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9

seaicanmexfoodNov 16, 2018

A truly dark and immensely melancholy film that is so haunting rich in story that I’ll find myself viewing this film several times before it leaves cinemas. With Thom Yorke’s amazing story and Luca Gaudagnino’s beautiful and masterfulA truly dark and immensely melancholy film that is so haunting rich in story that I’ll find myself viewing this film several times before it leaves cinemas. With Thom Yorke’s amazing story and Luca Gaudagnino’s beautiful and masterful directing, this movie is to be my favourite of the year.… Expand

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0

seed4sufferingOct 20, 2019

A pale imitation of the original. There was no reason to remake an already great horror movie.

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10

TuneisonNov 1, 2018

2018's Suspiria manages to be both a faithful remake to the original and, it's own thing entirely. The film's color palate is in direct contrast to the original along with many other things. Suspiria expects you to understand what is going on2018's Suspiria manages to be both a faithful remake to the original and, it's own thing entirely. The film's color palate is in direct contrast to the original along with many other things. Suspiria expects you to understand what is going on based on your knowledge of the original and, with that in mind, it allows the movie to cut out a lot of the exposition and, dive straight into the heart of the insanity at the core of the film. Literally aspect of this film is fantastic and, to say more would to spoil the experience.… Expand

6 of 10 users found this helpful64

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0

sandbornJan 14, 2019

Lifeless and soulless, 90% of this movie is just plain empty. Pacing at a pretentiously slow rate, the amount of actual horror in this wouldn't even add up to 10 minutes. I was tempted to give 'Suspiria' 1 or 2 stars, but whatever good is inLifeless and soulless, 90% of this movie is just plain empty. Pacing at a pretentiously slow rate, the amount of actual horror in this wouldn't even add up to 10 minutes. I was tempted to give 'Suspiria' 1 or 2 stars, but whatever good is in this, is utterly crushed by all the bad!… Expand

4 of 8 users found this helpful44

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1

foxgroveDec 3, 2018

'It's a mess' states Dakota Johnson with remarkable insight around the 2 hour mark of this appalling remake of a not so 'classic' 70's horror. It's going to get worse is Tilda Swinton's depressing reply, and indeed it does culminating in a'It's a mess' states Dakota Johnson with remarkable insight around the 2 hour mark of this appalling remake of a not so 'classic' 70's horror. It's going to get worse is Tilda Swinton's depressing reply, and indeed it does culminating in a blood bath that brings to mind the over the top orgy scenes of Ken Russell's 'The Devils' made in 1971. Dario Argento's original film made in 1977 at least had some striking visuals and a decent colour palette going for it even if it does remain an over rated mystery to me. This loose remake is almost desaturated of any colour, and story wise is an awful mess lacking any cohesion or interest. My rating of '1' is purely down to two fairly well edited dance sequences. As for the rest what was director Luca Guadagnino thinking. Yes, this is the same director who gave us such delights as 'A Bigger Splash', 'Call Me By Your Name' and 'I Am Love'. Let's hope he returns to form soon. This is a disaster!… Expand

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7

soltrombieroOct 30, 2018

It is a good movie and I think that the difrector is one of the best in the world. I am a great fan of his work

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7

TheQuietGamerMar 10, 2019

I must agree with Dario Argento, there is no music in Suspiria (2018). None that stands out that is. Thom Yorke's soundtrack is an unequivocal disappointment. Same goes for the lack of color. The drab greys of the setting don't lendI must agree with Dario Argento, there is no music in Suspiria (2018). None that stands out that is. Thom Yorke's soundtrack is an unequivocal disappointment. Same goes for the lack of color. The drab greys of the setting don't lend themselves well to establishing any sort of style. There are attempts to capture some of the original's magic in this department, but they mostly amount to the occasional odd camera angles or movements that just come off as dated flourishes that feel out of place in what is otherwise a traditionally made modern horror movie.

While it's disappointing to see this remake/reimagining fall short in those areas, my enjoyment of the film ultimately wasn't hindered too much thanks to what an improvement it is narrative-wise. Looking back, the antagonists of the original Suspiria didn't actually seem to be doing much other than just existing. Only taking the time to kill someone if they happened to be stumbled upon. Here though, the coven has motives and recognizable faces. They're using the girls at the dance academy to reach twisted goals and it's a much more sinister movie as a result.

I like how they actually teach dance in this version. It was odd that it never played a role in the original. The performances don't seem all that well choreographed though. Dakota Johnson was great, but the other dancers around her paled in comparison do to their roles in the routines being nowhere near as complex and feeling oddly disconnected from the whole. However, each display is erotic and disturbing enough to remain memorable.

Luca Guadagnino matches Argento's ability to create horrific death sequences. The first major kill in the movie is one of the most violent and hard to watch acts of brutality I've ever witnessed, and I'm something of a glutton for gore and mangled bodies. The extremely bloody conclusion is a little over the top, but is the kind of slaughter any fan of Italian horror cinema will love. The R rating is well earned. Expect gratuitous (yet non-sexualized) nudity and disgusting sights galore.

2018's Suspiria ultimately doesn't hold a candle to the 1977 classic. Stylistic deficiencies aside, the biggest issue with it is that it's so slow moving. It's quite a chatty little film, and one where the conversations don't mean as much as Guadagnino would like us to believe. Yet, it delivers so much memorable, grotesque, and macabre imagery that it's worth watching regardless.

7.9/10… Expand

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6

NightReviewsNov 12, 2018

Luca Guadagnino is a director on the brink of creative and artistic freedom following the highly applauded Oscar Nominated film Call Me By Your Name in 2017. So, with the cinematic world at your hands, why would the unique director follow upLuca Guadagnino is a director on the brink of creative and artistic freedom following the highly applauded Oscar Nominated film Call Me By Your Name in 2017. So, with the cinematic world at your hands, why would the unique director follow up with a remake of the 1977 classic-camp horror film Suspiria? Clocking in at almost over an hour more of footage, creating whole new characters for the film and a cameo from the original film, Guadagnino creates a blood soaked, poetic and subtextual allegory of evil, darkness and madness for a 2018 audience that may not quite be ready for such a consuming cinematic experience. Although remakes usually tend to roll eyes, this is not the director’s first remake. Loosely based on Jaques Deray La Piscine, Guadagnino’s 2015’s A Bigger Splash is a bright and hormonally driven comedic romp that blends dialogue with physical action to the point of hysteria. For his 2018 remake Suspiria, Guadagnino and his Splash screenwriter David Kajganich instill constant fear to a 1977 based German, filled with left wing extremists vying for a better Germany, bombs, not-so-subtle references to the Berlin Wall, and of course, the potential of witchcraft and demonic presences inside the prestigious Markos Dance Academy in West Berlin.

Despite all of this, a young and talented dancer Susie Bannion (Dakota Johnson) auditions and quickly gets accepted into the Academy following the departure of a young protege leaving the school; the talented Patricia (Chloë Grace Moretz). Upon fleeing the academy, Patricia begins donning disruptive and obsessive behaviour, convinced that the mothers and matrons of the school an in fact, witches who, as she claims, “hollow her out and eat her **** on a plate”. Patricia finds the comfort of German doctor Dr. Josef Klemperer, a psychoanalyst who is fighting his own demons having lived the second World War, and losing his wife to the Nazis. The role of Dr. Klemperer had its own share of headlines and controversy once production began; solely because the initial casting of the role was given to an unknown German actor named Lutz Ebersdorf. Guadagnino, who can certainly cast whomever he wants in his films now, was asked viciously why he casted an unknown for the role, and questioned heavily. It wasn’t until shortly after, that the role was in fact revealed to belong to Swinton, in heavy prosthetic make-up. Yet, while Swinton is masterful in Suspiria as Dr.Klemperer, who role as the audacious Madame Blanc is stiffly terrifying. Swinton, who has appeared in many of Guadagnino’s films, shares a perplexing horror to Blanc’s character, that is both disallowing, yet very humanistic and alluring. Swinton is among one of the biggest reasons to watch the film, as always.

Guadagnino has reached a point of prestige and elitism amongst Hollywood, especially within the independent film community. While Suspiria is by no means a film that would be recommended to anyone, possibly not many, gliding acceptingly within the fine lines of art-house type cinema and independent fanfare, Suspiria is so long, so wrought and entirely unapologetic that Gaudagnino and company seemed to have created a film entirely for themselves; a self-pleasure piece of cinema that is both artistically adventurous and simplistically fine existing for itself, and itself only. While the narrative could have easily been cut down an hour (as seen with the original), that extra bit of runtime allows for Guadagnino’s character study piece (more than a horror piece) to develop in quite a patient fashion. While its always hard to outdo Swinton when it comes to acting next to her, Dakota Johnson does everything and more to prove that she belong amongst the ranks of rising upcoming actors in cinema. Johnson, who’s claim to fame is the leather-bound role of Anastasia Steele in the Fifty Shades trilogy, gives Natalie Portman a run for her money in her Award winning role as a tormented ballet performer in Black Swan. Johnson intensely physical performance, pair with her dynamic nuances show the actresses acting strengths and gives hope for more captivating roles for many years to come.

While Suspiria can take the shape of many genres throughout its entire runtime, the horror/thriller niche seems to be the most fitting thanks to some memorable scenes that may not entirely scare you, but you can damn well bet they will gross you out. One of the most memorable and equally disturbing scenes in the film shows one of the dancers upset with Patricia’s disappearance, storming out of the Academy, and Susie taking her place. While Olga (Elena Fokina) leaves, in the midst of Susie’s interpretive performance of the now absent Olga’s role, Olga becomes possessed and entrapped in a mirrored studio. Juxtaposing Susie’s movements with Olga’s unwilling bodily movements, her body contorts In inhumane ways.… Expand

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5

Brent_MarchantNov 14, 2018

Despite considerable potential, this celluloid mess ultimately can't pull off what it appears to promise. After a painfully slow and needlessly cryptic start, this stylish horror flick gradually and effectively begins building suspense towardDespite considerable potential, this celluloid mess ultimately can't pull off what it appears to promise. After a painfully slow and needlessly cryptic start, this stylish horror flick gradually and effectively begins building suspense toward what is believed will be a revelatory and stunning conclusion. Unfortunately, the film falls apart in its final act, going needlessly over the top and ultimately serving up more muddle than resolution, squandering the audience trust that the director had built up in the picture's preceding segments. Though visually stunning and viscerally affecting, the end product never quite comes together as one would hope, leaving more questions open than answered. While this release aspires to cinematic greatness, sadly it ends up yet another exercise in artsy pretentiousness in the same vein as "Mother!" and "Killing of a Sacred Deer."… Expand

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8

amheretojudgeJan 13, 2019

Mother Issues.

Suspiria Guadagnino's swooping and whooping camera work on the beloved '70s classic horror flick is a head scratching gore vision that conjures you through your curiosity rather than your fear. First of all, this has alwaysMother Issues.

Suspiria

Guadagnino's swooping and whooping camera work on the beloved '70s classic horror flick is a head scratching gore vision that conjures you through your curiosity rather than your fear. First of all, this has always been an edgy tale, even back in the Argento's version, it is a concept that asks you to reach out for it. Nevertheless, the narration guides you to it where its abstractness is the double edge sword, for if it gets fixated in its vague nature, not only does it loses its audience but the grip on the characters itself.

Fortunately, Guadagnino is the just the guy that such a script demand, he takes his time, chews on the perspective properly and delivers a thrilling outcome to look forward to. Since one can imagine from the theme of the film, it relies a lot upon technical aspects like choreography, art designing, sound effects and makeup artist. And even though it delivers few jaw dropping scenes, the art designing feels a bit short handed especially in its last act; in their defense it is too colossal to frame it on a screen. Personally, I would choose this comprehensive display of Guadagnino's mythological dance academy than Argento's horror, which now looks like it was just skimming off the surface.

To admire, among various aspects, Guadagnino's acceptance towards tilting the world on a more mythological genre than the horror one is the smartest above all; it doesn't hold back, if it is set loose it is allowed to flow with butter smoothness. There is a general acceptance in the air of the upcoming storm among the characters, that allows the viewers to think beyond just the screams and chills of harrowing visions. Johnson in the lead, of both the act and the storytelling, fails to live up to the lethal sculpting of her character. She is neither poised, nor jaggedly on mark to express in her well choreographed dance.

Her lefts and rights may not match, but the plasterization of a numb and scary face favors majorly on her side. Balancing the incompetency on performance objective lies Swinton's stunning act. From the chaser to being chased by and from the reacher to being reached by, she has foliated the characters with her accurate vision on their role as individual being that will fool you. Despite of ticking for more than two hours, the film never seems overstretched, it's Guadagnino's magic trick of sweeping all the essential points on one big sequence, that keeps you tangled in this pathos world.

Even for the frequent viewers of such a bloodbath film, it can be too much, especially if any of the sequence is considered as a "blah", every step is a part of the act, even the news on the radio or television has a lot to say about his mature vision, it has too much to say and is too much subtle. Make no mistake, this fantasy, takes its rumors seriously, dipping itself deep into the good's and bad's of the world, it is a perpetually engaging drama where the real romance of the film is Johnson and Swinton's mellow chemistry. Suspiria has always been ahead of its time, we weren't ready for The Mothers back in the '70s, neither are we now.… Expand

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3

moviemitch96Oct 31, 2018

Well...that was bizarre to say the least! More of a reimagining than an actual remake of the 1977 cult classic horror film, this was a literal mess! While the original (which I was actually a fan of) was creepy and disturbing, it also managedWell...that was bizarre to say the least! More of a reimagining than an actual remake of the 1977 cult classic horror film, this was a literal mess! While the original (which I was actually a fan of) was creepy and disturbing, it also managed to be mysterious and haunting in all the best ways possible and was never too over the top. This film was the exact opposite of that unfortunately! It was creepy and disturbing as well, and them some (and I don't mean that in a good way.) Quite honestly, I couldn't believe how dreary, plodding, and just plain boring it was most the time, but then again, I probably should've suspected as much knowing that the film carried a two and a half hour runtime (an hour longer than the original's hour and a half runtime.) In addition, things just got more and more bizarre as the film progressed but even then still managed to remain rather boring all the while. And if that wasn't bad enough already, the film's final half hour or so became so ridiculously grotesque, and to make matters worse, the film tried it's hardest to make it appear really artsy and deep, but it just came off as completely absurd and pretentious and only succeeded in grossing me out. If there's anything remotely positive I can think of to say about this film, it would be Tilda Swinton's brilliant performance, or performances I should say, cause fun fact: In addition to playing the ballet academy director Madame Blanc, she played another small side character towards the end and also donned lots of makeup and prosthetics to play an elderly man named Dr. Josef Klemperer, but for that role she was credited under the pseudonym Lutz Ebersdorf. She's always blown me away with her transformations and acting skills and range, and this film was no exception! Sadly though, it's no saving grace for the film itself, and the rest of the cast's talents were rather wasted to me. Overall, this really was just one great, long, gross, and pretentious bore and a total disservice to the unnerving original! Hope everybody else had a better Halloween than I did watching this!… Expand

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2

JuanLuisGG14Apr 15, 2019

Horrid, gross and unfocused. If it wasn't because the soundtrack by Thom Yorke. it would get a 1 for me. It has some mistery moments and build ups which certaincly work, but those are to isolated and often interrupted anticlimactly. TheHorrid, gross and unfocused. If it wasn't because the soundtrack by Thom Yorke. it would get a 1 for me. It has some mistery moments and build ups which certaincly work, but those are to isolated and often interrupted anticlimactly. The ending is just one of the worst things i've ever seen.… Expand

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10

gamedevilbeeNov 4, 2018

ปวดหัวหนักมาก ไม่เคยดูหนังที่น่ากลัวและสยองมากๆมาก่อนเลย ทั้งงานภาพของพี่สอง สยมภู ที่สวยงามมากกับคอสตูมที่ปังมากๆ และการตัดต่อที่ตัดได้น่ากลัวและเพลินตามาก เหมือนเป็นหนังรวมคนเทพๆทั้งหมดรวมกันในหนังเรื่องเดียวเลยออกมาได้ไร้ที่ติใดๆเลยปวดหัวหนักมาก ไม่เคยดูหนังที่น่ากลัวและสยองมากๆมาก่อนเลย ทั้งงานภาพของพี่สอง สยมภู ที่สวยงามมากกับคอสตูมที่ปังมากๆ และการตัดต่อที่ตัดได้น่ากลัวและเพลินตามาก เหมือนเป็นหนังรวมคนเทพๆทั้งหมดรวมกันในหนังเรื่องเดียวเลยออกมาได้ไร้ที่ติใดๆเลย
ด้านการแสดง ต้องขอชื่นชมกับ Dakota Johnson พลิกบทบาทเป็นตัวเอกของเรื่องเลย จะทำให้ลืมตัวเอกเวอร์ชั่นก่อนได้หมดจด ทั้งLookทุกLook ที่สวยมากๆ โดยเฉพาะฉาย Climax จะบอกว่านางสวยโครตๆๆๆๆๆๆ
ในใจแอดแบบตายแล้วๆๆๆ กูโดนตกแล้ว 5555+
#งู้ยยยยยยยยยยย
Tilda Swinton มีความเป็นตัวแม่สูงมาก มีความน่าเกรงขามในตัว แต่ไปๆมาๆแอดชิปมาดามกับชูชี่ไปที่เรียบร้อยแล้วครับผม 555+
แอดก็ชอบบทของ Mia Goth มาเลยนะ นางน่ารักมาก เคมีก็เข้ากับนางเอกจนแอบจิ้นไปอีกคู่ 555+
และแอดก็ดีใจมากๆที่ได้เห็น Jessica Harper นางเอกเวอร์ชั่น 1977 มาร่วมจอในบทเล็กๆในเรื่องนี้มาน้่อยต่อยหนักพอสมควรในด้านอารมณ์ตัวละคร ทำแอดนั่งร้องไห้ปลิ้มปริ่มในโรงมาก งืออออออออ ดีใจจจจ
ส่วนด้านเพลงประกอบที่ได้ Thom Yorke จากวง Radiohead มาทำหน้าที่นี้ไว้ ซึ่งแกก็ทำได้ดีมากๆ
แอดชอบอยู่ 6 เพลงเลย
- The Hooks
- Suspirium
- Volk (มันคือ Step-Up เวอร์ชั่นดาร์กชัดๆ)
- Open Again
- Olga's Destruction (Volk tape) (ชีนนั้นยังติดตา สมการรอคอยมาก)
- Unmade (เพลงนี้ฟังบ่อยมาก โครตชอบ)
สรุป ใครที่ไม่เคยดูเวอร์ชั่น 1977 หรือเคยดู ก็ดูรู้เรื่องได้นะ เพราะมันรื้อใหม่หมดเลย ไม่ต้องไปกลัวว่ามันจะซ้ำชาก เพราะเวอร์ชั่นนี้จะสยองแบบจัดหนักจัดเต็ม… Expand

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9

EstebaanJan 29, 2019

Esta película NO es un remake, o no tendría que llevar ese nombre. Guadagnino declaro amar a la obra original y supo llevar ese amor a otro nivel. Una película con su propio toque, una atmósfera digna de este ''nuevo terror'' que estaEsta película NO es un remake, o no tendría que llevar ese nombre. Guadagnino declaro amar a la obra original y supo llevar ese amor a otro nivel. Una película con su propio toque, una atmósfera digna de este ''nuevo terror'' que esta emergiendo y unas actuaciones estupendas. Guadagnino toma pequeñas cosas del film da un gran giro a esta historia que enriquece mas experiencia del espectador. A mi parecer mejor que la Suspiria original pero sin dejar de apreciar la obra de Dario Argento.… Expand

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5

thunderboltwayNov 3, 2018

This review contains spoilers, click expand to view. This was a disappointment.

The Good:

-Dakota Johnson's dancing (and acting in first two acts)
-Two imaginative dream sequences
-The setting
-Literally backwards cinematography finally hits its stride in second act as it veers into voyeuristic territory, but is consistently an antogonistic character of its own (arc included) which can be interesting (when not distracting and overt) to observe
-Witchy stuff is generally handled pretty well
-Entire cast of witches and dancers were expertly chosen
-Very nice cameo by the original Susie actress
-Tilda Swinton as Madame Blanc rules
-Mad decent eroticism
-Clarifies the connection between dance and witchcraft solidly
-One scary sequence
-Absurdities of story / script sometimes played for dark laughs
-Good job, Thom Yorke

The Bad:

-Atrocious exposition writing. Expect wooden, forced telling instead of showing. Writing in Act 3 is particularly embarrassing.
-Dakota Johnson's acting in Act 3 (blaming the writer)
-Tilda Swinton cast as major psychologist character extremely distracting and forced (begs for post-processing on her voice, and if Guy Pearce bugged you in Prometheus this will too)
-Tilda Swinton as rubberized Helena Markos recalls the 90's Island of Doctor Moreau disaster
-Chloe Grace Moretz was thrown under the bus by this production
-Contains some of the worst dialogue ever committed to film
-Returns repeatedly to America like we give a f***
-Unnecessary back stories and side stories take over entire film by the end
-Tacked on, sophomoric social message grates on nerves like a Rupi Karr poem
-Tacked on twists ring flat, hollow
-Makes you feel embarrassed for Thom Yorke - even he can't redeem this climax, but you finally get why he was asked
-Historical context is blunt, forced, and distracting
-Symbolism is weak, sophomoric
-Repeated stench of amateurism
-Gruesome horror action scenes lack geography, horror, and effects budget necessary
-Hijacks Argento storyline to desperately tack on another, much worse drama story, alienating core audience ( Imagine if a Gremlins remake turned into Schindler's-List-meets-Munich and you're close )

Overall: A bold attempt of ambition and a triumph of setting, but a disaster of execution, world-building, and consistency. Strong dancing, setting, scenario, cast, and acting keep you from asking for your money back afterwards in an otherwise bottom-of-the-barrel B-movie on the level of Jupiter Ascending but without the redeeming camp factor. One scene was horror, and was therefore pretty neat!

Luca has a knack for interpersonal Drama but should be *banned* from Horror for life… Expand

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4

imthenoobJan 14, 2019

Certainly better acted and we are given a bit more story this time around but the long run time results in a very slow paced and kind of uninteresting film at times. And that needless subplot involving the therapist contributed to most of it.

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6

robertoiglesiasJun 10, 2020

It's fine enough, but it's sometimes boring imo, and the overlong runtime doesn't help

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4

AndrewBurgeFeb 5, 2019

Luca Guadagnino wanted to make this film since he saw Dario Argento's original version back in 1977 and his excitement is visible. Unfortunately, he is overwhelmed by this opportunity and this resulted in a film which goes in many directions,Luca Guadagnino wanted to make this film since he saw Dario Argento's original version back in 1977 and his excitement is visible. Unfortunately, he is overwhelmed by this opportunity and this resulted in a film which goes in many directions, but ultimately lacks focus and has quite a few loose ends.

The most noticeable and confusing problem I noticed was the way in which the film failed to connect its political subplot to the main one. I constantly tried to find a connection and I thought that I simply was not able to see it. Luckily, one quick swoop to Wikipedia confirmed that I was not the only one in this situation. Worse, though, is that the film juggles with being a drama, a thriller and a horror and does not really manage to be any of these fully.

Sure, I loved the final scene which was one of absolute grotesque beauty, dread but by the time I got to it, it was already a bit too late. This brings us to the film's worst crime. The fact that for its already long two and a half hours, it constantly tests my patience. Every single build-up ends up being unsatisfactory. Guadagnino, though, is a director who refines aesthetics; the film is quite rich in visual and audio personality, with Radiohead's Thom Yorke providing the score. But Guadagnino also likes to savour the moment. His films usually have a slow pace, like the great "Call Me By Your Name". The problem is that this film desperately begs for events to happen, and he is just not accustomed to that.

I found it interesting the way Guadagnino presented these witches not as evil, occult monsters, but gave them some personality. Behind their macabre rituals, there are many conflicts and reasons. Overall, this should have gone well, but over-excitement can be a mother sometimes.… Expand

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8

DarkwingSchmuckMar 8, 2022

Bold, layered, ambitious, Luca Guadagnino's remake of Dario Argento's classic stands on its own as a unique vision of the material. While inconsistent at times, and somewhat overlong, it pays off in spades with one of the most inventiveBold, layered, ambitious, Luca Guadagnino's remake of Dario Argento's classic stands on its own as a unique vision of the material. While inconsistent at times, and somewhat overlong, it pays off in spades with one of the most inventive climactic set pieces I've seen in a long time.… Expand

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7

LightsAndBulbsSep 18, 2022

This review contains spoilers, click expand to view. Immediate praise must be given to "Suspiria" for being the first horror film in ages to legitimately terrify, and disgust me. Sure, I've had plenty of moments watching scary movies where I've been creeped out, but few moments have hit the same way Olga's death scene did. To sum it up in two words: Jesus Christ. "Suspiria" boasts several other terrifying qualities, such as its bone-chilling score, which comes courtesy of Thom Yorke, and its beautiful, yet ominous, cinematography. Plenty of praise can also be given to its actors, most notably Tilda Swinton, whose character was easily the most interesting to watch throughout the film. Don't let all of those positives fool you into thinking this thing is flawless however. While it may be cliché to say at this point, this film's length is a legitimate issue. I have no qualms with long movies, as I love plenty of lengthy films, such as "I'm Thinking of Ending Things" and "There Will Be Blood", however, there are moments within "Suspiria" that could most definitely stand to be trimmed. The film also has a few editing flaws, most glaringly so its overuse of choppy slow motion, which is frankly one of my least favorite movie effects. Its constant presence severely diminished the enjoyability of the film's final sequence. The frankly awful CGI blood in that final sequence also greatly took away from it. Finally, while I adore the film's themes and twists, there isn't enough connective tissue present throughout the movie to seamlessly weave one theme into another. I most definitely would've appreciated a bit more foreshadowing regarding the film's final twist, as it would have made it feel far more natural, and rewarding. All that said, "Suspiria's" positive qualities most definitely outweigh its negatives, and unlike other horror movies, when it fails, at least it does so while being interesting.
-
Best Performance: Tilda Swinton… Expand

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9

ProgZombieOct 4, 2019

Equal parts horrifying and mesmerising. Cinematography and soundtrack are both sublime!