Only Michele Soavi has ever come close to matching the breathtaking awe of a hyper-stylized Argento set piece.
The Church is certainly one of the more successful Argento riffs ever made.
Dario Argento’s fascination with the subconscious reaches a ridiculous low here.
With the release of Anchor Bay’s three-disc Suspiria Limited Edition, Argento fans could finally breath a sigh of relief.
The film was a match made in hell and a dream realized for many horror fans.
The visual effects fantastically morph the film’s frescos into illusory gateways into Anna’s subconscious.
Needlessly convoluted, yes, but batty sometimes in a good way:
Though Dario Argento is known for actively toying with camp, the film’s campiest moments seem unintential.
Phenomena’s paranormal obsessions are unlike anything you’ve ever seen.
The success of Dario Argento’s masterpiece depends on the spectator’s appreciation for its rigid self-reflexivity.
The film is perhaps most remarkable for it’s unusual spiritual underpinnings and Dario Argento’s deft attention for sexual signifiers.
Dario Argento undervalues his material, but his set pieces are glorious enough that the film’s plot contrivances can be forgiven.
Take Opera as the last time the great Argento was cracked himself.
Cat O’ Nine Tails begins Argento’s lifelong fascination with the grotesque close-up.
The film is perhaps best enjoyed by those new to Dargio Argento.
Every single image is ravishingly beautiful, like watching Secret Beyond the Door in Technicolor.
Its secrets unravel via a series of carefully calibrated compositions that become not unlike virtual gateways into Freudian pasts.