Read Mixed User Reviews for Suspiria (2018)

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

2 of 2 users found this helpful20

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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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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

2 of 3 users found this helpful21

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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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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

1 of 4 users found this helpful13

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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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6

Thayna21Dec 9, 2021

No começo não entendi nada e no final parecia que tava no começo. Tem um terror psicológico ate bom mas achei que faltava algo mais no desenvolvimento da história em si.

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6

GiugiOct 3, 2022

This review contains spoilers, click expand to view. Generally acceptable film and very slow. This film does not manage to have the same standards as the film it should be the remake of, it does not give the same emotions and not even the same tension. The film is quite packed with nonsense scenes and gaps in plot and logic that are truly hideous. The twist of the finale makes no sense even if it is scenically wonderful.… Expand

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