I’ve never been a fan of Dario Argento–or giallo movies in general for that matter–possibly because there always seemed to be so much going on on top of the feeling that horror lovers were supposed to like them by default, never mind that I never thought that they were particularly good.
Or perhaps I should call them an acquired taste.
But then there was Suspiria.
I honestly barely remember the movie, but that trailer…it made quite the impression on my young, not-quite-developed mind.
As for Luca Guadagnino’s (Call Me By Your Name) remake,,,I can’t yet say though the trailer doesn’t hold a candle to the original.
“Take A Heaping Tablespoon Of An Actor Taking A Role Way Too Seriously, Add A Pinch Of Weirdness, And You Have A Half-Baked Vampire Tale”
The ‘Argento’ in this case is Dario, the Italian giallo director best known for films like “Susperia,” “Phenomena” among many others. His latest work, “Argento’s Dracula” could have been a really interesting and fun movie, though for that to have been the case Argento would have to have accepted that he’s not at the height of his powers, and rolled with it.
Unfortunately, that not the case, and “Argento’s Dracula” commits the cardinal sin of a horror movie (or any movie, really): It’s terribly uninteresting.
Which is a pity, because there’s some cool, weird stuff in this movie. This version of Dracula does things that I assume have nothing to do with Bram Stoker‘s original novel, such as turning into an owl (a cool idea, by the way), flies, and a giant praying mantis?!
What are you looking at? Never seen a giant praying mantis before?
Thomas Kretschmann is an interesting actor, whom I have always thought brought a measure of humanity to the roles he plays. Lately, he’s been involved with quite a few fantastical projects, such as “Resident Evil: Apocalypse,” NBC’s “Dracula,” and the upcoming “Avengers: Age Of Ultron.”
“The hints of potential–and they’re there–in “The Hills Run Red,” are too fleeting to invest the time to uncover.”
Some movies, such as Dario Argento‘s “Susperia,” scare me. I feel this way despite having seen it too long ago to remember any detail (though I do recall a young woman crawling through a tunnel lined with barbed wire).
That’s the thing: In my memories–which I know more often than not are false–it’s so horrific that I have no intention of watching it again, because if I do, I know that it will be nowhere as terrifying as recall it being.
Which would mean that it would be another thing I have carried from my childhood (it would be more accurate to say my young adulthood) that the time has come to discard.
And for some reason I am not ready to let go just yet.
It appears that the Netflix gods finally listened to my requests for some new horror. Just a day or so ago they started showing “Intruders,” “Hunger,” “The Devil’s Rock,” “Hidden,” “Road Kill,” “Cornered,” “Girls Gone Dead,” among others. Strangely enough, they have also included a bunch of Mario Bava films, such as “The House Of Exorcism,” “Bay Of Blood,” “Lisa And The Devil,” “Baron Blood, and “Kill, Baby, Kill.”
I expect that most of the films I mentioned won’t be worth the time it takes to watch them (other than the Bava films. From what I have read he has done as much to advance the giallo film as Dario Argento) but then again, you never know when you are going to find a classic, such as “Occupant,” which was part of the last group of horror films to appear on Netflix.
Speaking of “Occupant,” here’s the trailer. It’s a creepy little ditty worth checking out.
After all, who knows? It might just lead one to reconsider moving into that rental that feels just too good to be true, because it may end up being a real…killer…deal.
They say plagiarism is the highest form of flattery, and it doesn’t mean that a film inspired by other(s) can’t be good in its own right too, but if the original source happens to deal more profoundly or be more originaly than the latter one, what is the point in adding another vision? Here is a visual example of some of the films from which director Darren Aronofsky clearly took direct “inspiration.” Among them: Roman Polansky’s “Repulsion,” Dario Argeton’s “Suspiria” and Korean director Kim Yong-gyun, “The Red Shoes.” The audio is in Spanish.