Suspiria

Guadagnino claims that his Suspiria is not a remake at all but a cover version. If that's the case, it can only be the equivalent of turning a three-minute glam stomp into a bloated rock opera.

'Suspiria' is Its Own Beast, Casting a Hypnotic Spell That's Sure to Divide Audiences

Kajganich is a purveyor of pretentious piffle.

It sounds intriguing (and at times it is), yet too often the result is clunkily mechanical, tending occasionally toward the risible.

The current Suspiria is always on the point of becoming interesting, but it never fails to squander that potential.

Suspiria is a classy, tinglingly stylish, charismatically acted yet chilly affair that crescendos madly in the final act (surged on by Thom Yorke's score) into a frenzied, full-frontal, Grand Guignol finale.

'...the punch-line of Argento’s film becomes the jumping off point for Guadagnino, but nearly two and a half hours later, not much of any value has been added to the pot…quite horrible to watch, and presumably that’s the intention…’

A swirling, tumbling vision of Cold War paranoia and coven politics, Suspiria will both astound and baffle; the conflict that defines its muted streets, full of uneasy dreams and restless feet, will come to bear on its audience and their nightmares.

Patient blood aficianados who stick with the filmmaker to the final reel will most certainly receive their crimson reward.

Tilda Swinton and Dakota Johnson shine in Luca Guadagnino's Suspiria (2018), a stunning Dario Argento remake and a clever analysis of human nature.