Eλευθερί
Junior Member
@eleutheri
Posts: 3,710
Likes: 1,670
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Post by Eλευθερί on Oct 16, 2020 14:13:28 GMT
Dario Argento must be an acquired taste. Aside from a few fantastic pieces in the score, and his characteristic dramatic stage-theater lighting effects, this one was a snooze.
(Also, if you are sensitive to seeing the suggestion of animals being mistreated, you might want to give this one a miss. Not sure how much was careful staging and editing vs any actual mistreatment, so don't @ me.)
3/10
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Reynard
Sophomore
@reynard
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Post by Reynard on Oct 18, 2020 19:28:20 GMT
I think that the only real scene of animal cruelty was some lizard eating a butterfly, or was there also a cat eating a mouse? Anyway, I know that the cats in the bag scene was all animatronics.
Anyway, I love this film so much. It's definitely something that you either "get into" or don't, the plot is really surreal, more a collection of vague ideas, suggestions and symbols than anything "concrete". I love that, and how Argento's take on witchcraft is so unashamedly old-fashioned - heavy curtains, candelabras, fullmoon, black cats, strange eyes glowing in the dark... Inferno, if possible, is even more fairytale-like than Suspiria was. Actor are not as good as in Suspiria, Emerson's score at least takes some time to get used to, and sadly the "escape" scene near the end is quite poorly done, just like it was in Suspiria. Still, I could not give this anything less than... 9/10.
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Eλευθερί
Junior Member
@eleutheri
Posts: 3,710
Likes: 1,670
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Post by Eλευθερί on Oct 19, 2020 6:43:10 GMT
I think that the only real scene of animal cruelty was some lizard eating a butterfly, or was there also a cat eating a mouse? Anyway, I know that the cats in the bag scene was all animatronics. Anyway, I love this film so much. It's definitely something that you either "get into" or don't, the plot is really surreal, more a collection of vague ideas, suggestions and symbols than anything "concrete". I love that, and how Argento's take on witchcraft is so unashamedly old-fashioned - heavy curtains, candelabras, fullmoon, black cats, strange eyes glowing in the dark... Inferno, if possible, is even more fairytale-like than Suspiria was. Actor are not as good as in Suspiria, Emerson's score at least takes some time to get used to, and sadly the "escape" scene near the end is quite poorly done, just like it was in Suspiria. Still, I could not give this anything less than... 9/10. There's the cat eating a mouse. There were cats being put into a bag who seemed to be very distressed by it, even if it didn't physically hurt them. There were lots of rats it seemed being forced into water.
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Post by Vits on Oct 19, 2020 8:43:02 GMT
The characters in SUSPIRIA came off as bland, but I couldn't put my finger on the exact reason. After watching it, I read that Dario Argento and Daria Nicolodi wrote them as children, until they felt forced to change their ages... and it all made sense. Luciano Tovoli's cinematography and Giuseppe Bassan's production design are great, but the plot and dialogues are too basic. Argento and Goblin's The music score is meant to make the viewer feel uneasy. Well, there's a difference between intense and overwhelming. Instead of grabbing my seat, I wanted to cover my ears. 4/10 INFERNO has mostly the same problems as its predecessor. It even follows the same major story beats. Keith Emerson's music score is tolerable in comparison, but it's not good enough to create a scary atmosphere. At times, it even feels out of place. For example, there's a scene where the tempo is so fast that you'd think the character on screen should be running, but instead she's walking. 3/10 The only memorable thing about MOTHER OF TEARS: THE 3RD MOTHER is the scene where a character repeatedly says "Mommy" in such an unintentional funny way. The previous installments didn't have that distinct style just for the sake of aesthetics. They made the setting feel like a nightmarish world, so the B-movie gore felt earned. This 2nd sequel tries to combine the over-the-top deaths with a traditional visual presentation. The result is as messy as Argento's head was when he decided to film his daughter Asia Argento in a shower scene. I know it's normal for sequels to have callbacks to the original, but you can't make a trilogy where every single installment has the exact same ending. Especially if it's an anticlimactic one. 3/10 Taking a movie known for being colorful and remaking it with a muted color palette is a good way to sum up the current state of visual media. What a relief that the tone of SUSPIRIA 2018 is bleak enough that this grey and brown palette fits (I can't say that about a lot of other modern movies, TV shows, music videos, etc.). And to be fair, there are a few moments with intense primary-colored lights. One of my first thoughts was "Why not take this opportunity to tell the story with children like it was intended?" I was disappointed to see adults again, but that's because I subconciously assumed that they would follow the same blueprints of SUSPIRIA 1977's script. I'm glad that they took the oversimplistic story in a new direction and that they wanted to add more depth to it, but I wished they hadn't focused so much on the witches, especially in flashbacks. There's nothing wrong with exploring the mythology in a supernatural movie, but this felt convoluted. The movie is only truly fascinating during the dance scenes. The combination of acting, directing, editing and choreography is quite intense. 5/10 ------------------------------------- You can read comments of other movies in my blog.
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Post by FridayOnElmStreet on Oct 30, 2020 22:04:35 GMT
3/10
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Post by movielover on Jan 30, 2022 16:50:30 GMT
5/10 - The only Dario Argento movie I hate. Interestingly, Argento was ill throughout the production and bedridden at times. According to actress Irene Miracle, almost all her scenes were directed by Mario Bava. Dario Argento was rarely on set through most of the shoot. ...This explains so much.
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