I've seen the original and can tell that this remake goes one step further. While the old 'Suspiria' from 1977 has strong atmospheric suspense, his one has less of it, but becomes real bloody at the end. What drives me mad is the run time. 2 hours 31 minutes for a story that could be easily told in 1 hour 45 minutes. So I lost a lot of time for a mediocre story. I would have given even a worse rating, if it wouldn't get so gory shocking scenes at the end. That's the only point it can really score with - as a horror movie. The story is too long winded.
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Breumaster17 February 2020
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KidMacabre16 January 2019Disclaimer: Similar to another user review, I have to confess that I am EXACTLY the audience for this movie. I love Tilda Swinton, genre films, dance, anti-fascism, and Gothic horror. So take what I say with a grain of salt, I suppose.
"We need guilt, Doctor, and shame."
The scariest thing in the world (to me) is a person with no sense of shame. It's remarkably easy for some people to decide, 'I'm not responsible, I don't care if I hurt people or if people are hurt in my name, as long as I'm comfortable. As long as I don't see it. As long as I can justify in my head why those people deserved it. As long as I get to sit here, sip my tea, and not think about the bodies.'
Such is the poison that consumes the Helena Markos Dance Academy, where the matrons who run the school prey upon their students. They put on a protective, motherly front to manipulate and destroy the young women who come through their doors. The youth believe the celebrated academy will help perfect their dancing capabilities. This lie masks a secret, nefarious plot - one the coven will gladly kill to protect.
Luca Guadagnino's Suspiria has a lot on its mind - the German Autumn, modern dance, motherhood, witchcraft, psychotherapy - but everything comes back to a struggle with shame, especially as it applies to those with power. The witches at the academy were victims of the Third Reich, and have since devolved into their own form of fascistic groupthink. Fear of discovery drives the coven to commit atrocities. We are shown in grueling, bone-crunching detail the cruelty they are willing to inflict on dissenters, and then we see how shockingly happy and contented they are with what they've done. Evil is banal, and it does not occur to (most of) the matrons that they should feel even the slightest semblance of guilt.
The only other authority figure in the film is Dr. Klemperer (played by the endearing "Lutz Ebersdorf"), a psychologist who survived the Holocaust. While his intentions are more noble than those of the witches, he still fails to take action when it counts and pathetically denies the blood on his hands. The message may not be subtle, but that doesn't make it any less palpable: We are all culpable when we allow unjust regimes to flourish. Shame can help save humanity.
Guadagnino is more concerned with character psychology than Dario Argento was in his 1977 original. Every character actively pursues an agenda, and their individual journeys interlock in interesting ways. It's difficult to say there is only one main protagonist; we closely follow the progress of so many people. Guadagnino also shows way more compassion for his characters than Argento did. The sisterhood that develops between Susie (Dakota Johnson) and Sara (Mia Goth) is genuinely touching. So is the intense, symbiotic bond between Susie and her instructor, Madam Blanc (the incomparable Tilda Swinton). And of course, there's Klemperer on a mission to find and rescue his missing patient, a dancer tormented by the academy (Chloe Grace Moretz). Because there is sincere, deeply felt love for each of these characters, the terror visited upon them is all the more distressing.
Many of the film's stylistic choices can be quite jarring, particularly in the VFX and editing departments. It's also 2.5 hours long and slow paced in sections. It's not for everyone, but then again, neither is the 1977 original. Guadagnino pays tribute to the free, punk rock spirit of Argento in his own unique way. Thom Yorke's music is also very surprising; singing on a horror movie soundtrack is a bold move. Yet nothing here feels out of place. The world of this film follows a well-defined, if unorthodox and challenging, aesthetic logic - in that regard, it matches the success of the original, which critics described as "A movie that makes sense only to the eye."
The new Suspiria makes sense on a deeper level. For all its intellectual obsessions, the movie is first and foremost an emotional experience. We watch, helpless, as characters we care for are neglected, lied to, and murdered by their elders. With age and trauma, the adults have lost touch with their humanity, and now they commit selfish crimes whilst hiding behind a wall.
People who say this movie "doesn't know what it wants to be" couldn't be more wrong. -
7DeadlyThings2 September 20181. Suspiria is gonna be divisive
Like last year's mother! by Darren Aronofsky, Suspiria has already divided audiences at this year's Venice Film Festival. Whilst I clapped my palms off once the credits rolled an irate audience member beside me booed furiously (we exchanged disapproving glances). The Guardian has reported that "it fails to bewitch," but I beg to differ.
2. Some scenes in Suspiria are spectacularly scary
Lucky for us the talented directer Luca Guadagnino (Call Me By Your Name, A Bigger Splash) and smart screenwriter David Kajganich have taken this spooky subject matter very seriously. The result is some prima orrore assoluta - particularly the shocking sequence where some ubiquitous evil forces choreograph an ill-fated dance student into a très grave finale.
3. This Suspiria is not a remake
You don't need to have seen the original to enjoy this movie (although I'd highly recommend that you do). It's much more of a reimagining of Argento's dream-tale than a remake. Guadagnino intertwines German politics and terrorism - the film is set in 1977 (the year the original was unleashed) Berlin. Plus lead character Susie gets a much meatier backstory. And dancing, there's a lot more dancing.
4. Original Suspiria star Jessica Harper pops up
Having deliberately avoided any media about the movie to go in knowing nothing it was a pleasant surprise to see Jessica Harper make an appearance. Harper played the title role of Susie in Argento's version and with Guadagnino being Argento's biggest fan, and good pal, this cameo was a nice nod to the original and the fans.
5. The performances in Suspiria are spellbinding
Dakota Johnson is enchanting as the elite ballet dancer; Tilda Swinton is captivating, of course, as the mysterious headmistress; yet it was rising star Mia Goth's performance that did it for me. Chloë Grace Moretz along with the other fellow students are very good, as are the teachers (or coven of witches) at Tanz Dance School.
6. Swindled by Swinton?
An IMDb profile of Lutz Ebersdorf cites Suspiria as his only acting credit. However, there is growing speculation that it is in fact Tilda Swinton playing the role of psychoanalyst Josef Klemperer. During the press conference when Swinton was asked what it was like playing the two roles she replied, "what two roles?" followed by a wink. She even read out a letter from Klemperer excusing his absence from the panel.
7. Thom Yorke scores with the Suspiria soundtrack
The soundtrack to the original Suspiria is legendary. Italian band Goblin composed it working closely with Argento through production. This time, Guadagnino called upon Radiohead's Thom Yorke to bring the magic, and he doesn't disappoint. The music is definitely more mellow than it's predecessor but suits the autumnal tone of the film. -
CinemaClown15 September 2019Gone is the exaggerated colour palette, the elaborate set pieces, the nightmarish soundtrack & the no-nonsense premise of the original. In fact, Luca Guadagnino's Suspiria departs from everything that made Dario Argento's horror classic unique, and is a dull, dismal & divisive remake that's exhausting, frustrating & one hell of a slog.
Unlike the 1977 original, this one employs muted colours, shrivelled set design, slow-burn approach, hypnotic score & an unnecessarily drawn out narrative that piles one needless segment on top of another, resulting in an overlong flick that exceeds the original's length by a considerable margin, and will test the patience of most viewers.
Aiming for more than a straightforward supernatural horror, Guadagnino retains the themes of the original but is more interested in exploring the political unrest of the depicted timeline, not because the plot calls for it but because he wants to. While some will admire his choice to not rehash the same story, others will argue that his reach far exceeds his grasp here.
On the plus side, the eerie mood & foreboding aura never leaves the room, some kills are downright terrifying, the earthy tones do fit its depressing tone, that Volk dance sequence is truly a highlight, Make-up is top-notch, and Thom Yorke's score just fits. As for the performances, Tilda Swinton steals the show by taking the role of not one, not two but three different characters, and she excels at all of them.
Overall, Suspiria does retain the original's title but everything about it is different. More a homage than a full-fledged remake, it is an abstract re-imagination that attempts to tackle themes & elements that it could've done without, and comes stuffed with an unwarranted subplot that's detrimental to the viewing experience. In short, Luca Guadagnino's Suspiria is too long, too slow & too far up its own ass. -
SnoopyStyle1 February 2019It's 1977 Berlin in an atmosphere of political terrorism. Susie Bannion (Dakota Johnson) is a wide-eyed amateur new to the free avant-garde Tanz Dance Academy. Former dancer Patricia Hingle disappeared and her psychiatrist Josef Klemperer reads her journals. Tilda Swinton plays multiple characters.
This is about three quarter grind and a quarter amaze balls. The grind is a lethargic slow procession. Dakota is also lethargic and struggles to be the lead. Her 50 shades acting has infected this movie. She barely stands out in the sea of wraithlike dancers. It's weird and arthouse beautiful. It's meandering. It's a real grind except when it's amaze balls. The first contortion kill is crazy and good and crazy good. It is visually aggressive and artful. It's new and everything I want from this movie. It's also the best the movie ever gets. There are some good moments after that but they don't exceed it. I can see how some may like the arthouse horror aspect but I suspect that more will not like the slow grind. It's two and a half hours and I wouldn't mind cutting out a good half hour out. -
Need another remake/reboot/reimagining of a classic horror movie that was effective because of the timing of its release... and deserves to keep its legendary status for the rest of time." Then I saw that it was 2.5 hours, and I was like "OMG, what?!" Then I watched it, and I was like "OMG, what?!" I think I'm going to watch it again, because I wasn't paying attention a lot of the time. However, this is one of those remakes/reboots/reimaginings that I respect. Why? Because it takes the CONCEPT of the original, and spins everything about, swirls and twirls it, then flips it up into itself, turning into a completely faithful representation of the term "REIMAGINING". I respect SUSPIRIA 2018. Granted, some of the makeup effects were pretty bad (especially the "old man", which I don't really think was necessary; and the silly makeup for one of the "old ladies" in the final act, which was worse). It is a little long in the tooth. It tries perhaps a little too hard to be artsy-fartsy... But it grabbed me. It pressed its filthy, dirty fingers on my windpipe in parts, and gently squeezed with wrathful intimacy. I felt dirty, yet couldn't help but feel enthralled in parts.
I will say, though, that even if this movie was a complete FAILURE of a horror remake, I will gladly praise the fact that it tried to be its own thing. It wasn't a shameless ripoff. It really, truly IS a reimagining. We just don't get enough of those these days. -
ssrw-3496025 February 2020A lot of bad reviews on here probably from those expecting a copy of the original. I personally didn't want a copy (what's the point in that?), the original had a chilling score and beautiful visuals but wasn't all that scary. They say this movie is an art scene but in my opinion, the original focuses more on art as it does actual horror. This Suspiria delves more into the coven of witches and the substance you would want from a so called horror movie. I am a massive horror fan but I pick what I watch wisely as the horror genre as a whole is only 25% good. If you want substance then watch this film, if you want cheap jump scares, lack of story and crappy Hollywood types then look elsewhere.
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alejandrogrimolizzi3 February 2019Perfecta por donde se la mire. Luca Guadagnino lo hiciste de nuevo.
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kosmasp6 May 2019While I really liked the weirdness of the Original (you can't really put your finger on it and what it tried to tell us), this really steps up to the task. I know that just writing this or just the rating will have some fans of the Original riled up. Now I'm not trying to take anything away from your memories or your taste, so if you are reading on, I thank you for being open minded.
For anyone unaware of the original, you do not have to have seen it, to enjoy this. But you can watch both, because they differ on enough levels to make them both enticing and interesting to watch. Even a double will would be something that made sense. And whichever order you want to watch them. Though I think it would make sense to watch Argentos Suspiria first. We have different characters here, we have an amount violence and depicted visual explicit pain enducing scenes, that this is not for the faint of hearted. If you are squeamish, do not - I repeat: do NOT watch this! But if you stomach the visceral and painful moments (there are not that many and they are mixed well with the story), you will love the rest too.
Great storytelling and a weirdness that can hold up to that of the original. And really great acting to go along with everything. -
shweta-5165710 February 2019When I recall the 1977 original, what stands out most in my memory are the vivid and beautiful colours depicted with the backdrop of one of the most eerie haunting soundtracks to grace a film.
In stark contrast, almost rebelling from the original, this movie has taken great pains to be almost entirely devoid of colours. However when they do use any colour, you guessed it, its red and oh my gosh, does it get everywhere.
This recycled movie might not stand the test of time as it is heavily based on the original and depicts in a not so subtle manner the witches and the coven's going ons, whereas the original was subtlety and left it up to the viewer to imagine the worst. It does however explore the folklore around the Three Mothers and creates an eerie atmosphere that leaves the viewer distinctly uncomfortable.
If this was to be considered a standalone film, it would be mediocre. Give me honest new witch movies like the VVitch (2015) over remakes of old movies any day -
kempton-joshua15 October 2022If that hadn't associated itself with the original, hired a different composer and hired a director instead of a self-important twit it may not have been a bad film.
Instead of doing that they decided to defecate in Argento's trousers and try to sell it.
If you can ignore that and the passing strange filming decisions that were made the acting is pretty damn good and Tilda Swinton is always enjoyable. Even in something as weak as this she's worth watching.
There's some reasonable gore and violence but a lsome of the visual effects are, somehow, worse than the original. The CGI in some places is bad enough that even a Scy-Fy original would be ashamed of it.
Also, despite what hipster sycophants say, Thom Yorke kinda sucks. -
bastardflakes30 January 2019This is the coolest movie of 2018, no doubt. I liked the original, but this version was way better. The stakes were upped, the political context was more interesting and thought provoking - and the special effects were off the chain. So bloody and disturbing and clever. Great performances all around, and dance too! the ending is so rewarding I can't even get into how graphic it is. SEE THIS FILM!
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bvnisarga13 February 2019The original 'Suspiria' by Dario Argento was a treat for the senses. It was a visual masterpiece. This version of 'Suspiria' has no similarities with the original. It is more arthouse with a completely different tone. The atmosphere is sinister and eerie. The elaborately choreographed dance sequences are macabre and invoke a sense of dread. The movie is not outright scary like conventional horror but more along the lines of psychological horror. Also, Dakota Johnson's performance as Susie was quite good. At 2 hours 30 minutes, It is a lengthy movie but it is worth it.
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AGood22 February 2021This would have been a fantastic 1hr 45 minute film. The problem is this film runs for a whopping 2hrs 30mins.
This is a film that needed an editor to cut back scenes. They run too long and there are many irrelevent to the plot scenes dragging this movie down considerably.
If this had of been cut back this would have been an 8/10 film. As it stands now I gave this 4/10.
See the Daria Argento original instead. -
Stealthy-2296030 January 2022I cannot put my finger on it completely, but something is off with this movie and I don't like that I cannot give it a 9 since the acting was great. As always, Swinton can carry any movie single-handedly on her shoulders. And her doubling as the Doctor was unexpectedly good. Simply, I think the casting was great.
The writing, storytelling and maybe the editing seems to be decent but perhaps holding the film back a bit. So I'm unfamiliar with the historical backdrop of the film, but that's ok because I think there is enough gloom and doom feeling that I get the mood it's trying to set. But then all the flashbacks or sharp cuts to all these random pictures and scenes gets muddy. I get that maybe it was supposed to bring this elevated artistic thriller element but it failed because it was overused and just too random at times. The pacing was a bit slow as well or maybe it was the long runtime that made it feel like it was ongoing forever.
In all, I think it's a 6, but it could have been an easy 8 with at least better editing and shorter runtime. -
fscramo16 December 2018Suspiria is a well made horror movie, not boring, building slowly the tension and with a great director work behind it. If you expect a classic horror movie "american style" you will be disappointed, but if you are looking for an adult horror movie then this one is for you. Everyone talking about the last 20 minutes.... well, last 20 minuts must be considered and evaluated in the totality of the work of Guadagnino, as his own personal touch. Above all, i suggest to watch it without prejudices and with a clean mind, to enjoy the atmosphere, the uncomfortable situations, the evil sensation that Guadagnino can offer us.
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I'll probably get hate for it but I haven't seen the original, I'm sure it's incredible! Suspiria is incredibly well filmed with such a style that makes it feel old with a awesome soundtrack! Glorious eerie vibes in many parts which is nice. Very much reminds me of Black Swan just very different and more terrifying; which I love! Electrifying experience that I didn't expect, I cant't believe Suspira didn't get more praise.
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stefanoperoni2218 January 2019I'm Italian and I'm proud of Luca Guadagnino, he has grown very much. This movie is an author's movie, you can breath Guadagnino's style. The movie undergoes a difficult comparison with Dario Argento' masterpiece, someone couldn't appreciate it because of the original movie. The director had the difficult task of respecting the masterpiece, in fact he decided to change the original main plot, but leaving the essence of the original movie. The dance scene are really well filmed, maybe too long... in fact the biggest problem is the duration. A lot of scene are too long! I really appreciated Suspiria. Well done Luca
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jonralph-296941 November 2018This is my very first review on IMDB, but I feel this film merits recognition. First off, let me say this film is not for everyone (the guy who I fist bumped when we started the film walked out). Frankly, if we are being honest this is a bit of a niche film. Howeverly it is a gorgeous piece of cinema worth give attention to.
The cinematography is gorgeous in every shot, and at times will honestly make you questionin what era the film was made in. The socre is somber and a great match with the the bleak tone constructed by Guadagnino. The acting is very well done, and stands strong throughout the film. I personally don't want to give the plot away, or any more information beyond what I have said.
I for the life of me can't understand why fans of the original dislike this piece! If you love the uniqueness of the original Suspiria, and are willing to experience a new interpretation of the film I genuinely think you'll have a blast! -
squinn-9153120 November 2018Once I stopped seeing it as a remake I started to enjoy it. Some incredible acting (Tilda Swinton as always) and some really good body horror moments which felt like you were really part of the nightmare. Final act is totally insane, in the best possible way.
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connorblackmanatt8 November 2020I would love to write a long review about how this was the worst movie I have ever had the misfortune to see; however, it is not even worth that.
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trymcnl16 October 2018I can understand why this film has been so polarizing. With that said, know that I'm clinging to the side that thinks this movie is an absolute masterpiece. I'm a huge fan of Argento's legendary 1977 film, but aside from title, character names, and general plot, this film is entirely separate from that technicolor nightmare fairy tale. Guadagnino has created a dour, political, and animalistic horror epic that's closer in style to a Fassbinder film or Kubrick's The Shining than anything in the Giallo ouevre.
People will hate this movie. People will adore this movie. Either way, it was made to elicit strong reactions and I have no doubt that it will.
Edit: scrolling through these one star reviews it's become pretty clear that most of these people have not....seen.....the movie -
mariahuaripa7 February 2019It is worth watching. There are some memorable scenes. The build up is good. Dance sequences and the connection between art and ritual leave a mark.The ending felt convoluted and saturated in all senses, not in a good organic way that worked with and for the movie (like the original suspiria) probably more a homage which derails and distracts. The music is good, the acting is good, the photography felt off all throughout.
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scrappybilly1 November 2018Suspiria, as I'm sure anyone reading this is aware, is a remake of the 1977 Dario Argento film of the same name. This time around, it's directed by Luca Guadagnino (Call me by Your Name) and David Kajganich (who worked by Guadagnino on A Bigger Splash and created the AMC limited television show "The Terror"), and expands upon the folklore of Agento's "Three Mothers" trilogy. 2018's Suspiria is less a remake and more of an expansion on the world of the Three Mothers, even boasting a post-credit sequence, like an entry in the Marvel Cinematic Universe.
Dakota Johnson plays Susie, an American ballet dancer who joins a world-renowned German dance company, that harbors a dark secret. It is, you see, run by a coven of witches. Anyone who discovers the secret, or goes looking too deep, disappears-usually in a violent dispatching. Their motives are unclear, but they feed off of the energy of the young dancers and when one goes missing, it's easy enough for them to find another to replace her.
Tilda Swinton plays Madame Blanc, the face of the dance company, a dancer and a dark entity that takes Susie under her wing. The most interesting scenes in Suspiria deal with their relationship. They're at once predator and prey, mother and daughter, and two old souls who've known each other since before time. Their interactions, and the way they involve, showcase a much, much better movie than the one we ended up getting.
The problem with Suspiria is that it's a mess-in every conceivable way, it's a mess. As a horror movie, it isn't scary; the scenes of suspense are taken to comical extremes. Whether these comical extremes are intended or not are up for debate, and in a better movie, that would be a subject of interesting conversation. Here, it's simply confusing. As a drama, it's incoherent. Twists in the plot occur without any real logic behind them. As a horror fan, I love movies that boast their own kind of self-contained logic, but that requires a certain suspension of disbelief that Suspiria just didn't earn.
Suspiria is a unique paradox of having both too much and too little plot. It has too much plot dedicated toward dead-ends and too little dedicated to big reveals, where they wind up confusing and pointless. In a movie where about five notable things happen, to say its 2.5-hour-long run time is bloated would be a generous understatement. In what will surely become the film's most infamous scene, Susie dances, while her movements magically contort and mutilate another dancer. This scene goes on and on and on, and the thing is, it's not even particularly well-edited. Susie will do a pirouette, and the victim on the receiving end of it will... just sort of crash into a wall, or her jaw will unhinge. None of the movements match. It would have been interesting to see one movement darkly mirror another, or vice versa, but instead it looks like we're watching two unrelated occurrences take place. It's like watching someone eat cereal juxtaposed with a violent car wreck.
I don't believe it's a spoiler to reveal that Tilda Swinton also plays the character of Dr. Josef Klemperer, because it's worth noting that her performance as him makes zero sense in the context of the movie. It's a distraction. She also has an annoying acting tic as the doctor in which she clacks her jaw or smacks her lips every three seconds or so. It's a bizarre choice that I think the filmmakers were proud of, but was a miscalculation from beginning to end. In an interview, David Kajganich said, "Both Luca and I were adamant that the male gaze never intrude," and if that was their thinking here, it was a total failure.
Some of the more head-scratching decisions in the film can best be summed up the the terrorism subplot, an event never directly witnessed, but terrorists have kidnapped a group of people and a days-long event unfolds surrounding the school. At first, it adds a certain ambiance to the film, and it works really well in establishing the unease of the world outside of the dance company, as though the coven of witches are affecting the world at large around them. A girl named Sara (Mia Goth) hears something and pokes her head outside and says it was a bomb, that she can smell it. This helps put us, the audience, in the world with these characters. And then, this plotline just sort of drags along and becomes, strangely, a series of news reports, as though the movie we're watching is being interrupted by an unrelated documentary. It never ties into the narrative as a whole, it's just a distraction that, like the Tilda-as-a-doctor story, should have been left on the cutting room floor.
The film's finale, in which everything comes together, just sort of staggers into place. Usually, getting everyone together all at once for the finish requires events established earlier, where a character will do this or that and everything pays off. This is just a scene that sort of happens, doesn't have any real tension, and contains revelations that undo the entire plot that had preceded it. It's also an extravaganza of terrible-looking effects and smeary frame rate that looks like it was inspired by the German shot-on-video horror entry The Burning Moon, but The Burning Moon was made for maybe a few thousand dollars and is genuinely unnerving.
To me, it feels like 1977's Suspiria is the remake. It feels like that film took the 2018 version, looked at all the plots that went nowhere, trimmed them out, boiled it down to its purest essence, and made a crack rock of horror. The problem, I suspect, was the director's desire to make this the first part of a trilogy, instead of a standalone movie. So, as a result, we're left with some threads that may pay off later, but sure as hell don't pay off here.
Suspiria is going to be a love-it-or-hate-it type of movie. I could see loving it, it just had a certain divorce from reality I didn't think was earned; its surreal qualities weren't enough to afford its more outlandish aspects. Its grounded-in-the-real-world vibe clashed with the horror instead of holding up a mirror to it. -
Gordon-1129 July 2019I sat through the entire film, and honestly do not understand any part of the plot. The film is basically a collection of bizarre scenes. Many scenes are gory, but they are so over the top that they become funny instead of scary. I can't imagine a film that can be worse than this.