Inferno

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Alec B It meanders but in interesting ways as the movie allows for seemingly multiple protagonists. Love the over the top finale. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 02/22/24 Full Review Robert B terrific, much more exciting than most contemporary horror Rated 5/5 Stars •  Rated 5 out of 5 stars 02/03/24 Full Review Sabrina F This film is definitely an exercise of style over substance. There is a plot, of sorts, but it does not really reach beyond the film's synopsis except at the very end, where a big reveal is made (but by then, you would have guessed who). Inferno is a visually stunning movie with some creative kills and beautiful scenery and lighting, but there is not much beyond that to recommend. I enjoyed the first 20 or so minutes, but it did not take long before I was watching the clock or fast forwarding through plodding scenes of characters walking. So far, Suspiria is the only Argento film I have truly liked. Next up is Opera. Rated 2.5/5 Stars •  Rated 2.5 out of 5 stars 11/02/23 Full Review michael b This Movie Remind Me Of Susperia Sooooo Much, Its to me A Classic, Absoulity Wonderful Horror Movie, We Definitely Need More Horror Movie Like This, Thank You.🥰🥰🥰🌟🌟🌟🌟🌟 Rated 5/5 Stars •  Rated 5 out of 5 stars 07/24/23 Full Review jjjjjj j This movie is very much a dario argento film. From the mix mash of music genres that at some points works and at some points fails, to the set design that can be at one moment incredible at the next cheesy. A plot that borderline switches main characters, and has lose ends all over the place. Check. I think it would be easy to ride this movie off as bad and in some ways it really is. At the same time it also has its pros. This movie is really a mixed bag but a must for fans of Argento. Rated 2.5/5 Stars •  Rated 2.5 out of 5 stars 03/30/23 Full Review CKB In Inferno, director Argento is torn between making yet another 'stylish' gory horror film and instead doing something much more interesting, with remarkable dream-like sequences and hints of alchemical processes at work. But you cannot do BOTH effectively. It is truly amazing early early on when a dainty intellectual woman takes off her shoes and calmly dives into a dark, subterranean pool of yucky water for her lost keys -- this is the realm of dreams, and the scene is beautifully played out as such. But Argento insists on punctuating wondrous sequences like this with gratuitous scenes of grisly murders. Maybe this satisfied the concerns of the backers about pleasing horror fans and making money, but it kills the awe of the dream-style scenes with gross-out disgust, and each murder seems to get more elaborate and boringly drawn-out, pointlessly distracting from the truly interesting things he has going. For a comparison, Roman Polanski found the proper balance in Nine Gates, his own movie about devilish happenings surrounding a secret, dangerous book. Polanski works with the alchemical imagery much more interestingly, so that the film's fiery ending actually makes a kind of sense, while preserving the film's tantalizing ambiguity. Argento, hardly Polanski's intellectual equal, gets pretty lost after a while, then comes up with the 'big revelation' that Mater Tenebrarum (the 'nurse') is really DEATH, now wearing what is apparently meant to be a medieval mystery play death costume -- which unfortunately looks like an off-the-rack Halloween outfit. The big problem here is that alchemy is about transformation, but the only transformative experiences here are in watching living people get dead. Late in this movie Death rattles off a batch of fascinating-sounding transformative experiences that she wants to introduce Mark to, but he simply runs off in terror. At the end, he is just as lost and confused as the audience by all this craziness -- he's hasn't learned a thing. Watch this for its dreams, and fast-forward through the gory bits. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 09/28/22 Full Review Read all reviews

Inferno

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