Suspiria

Name: Suspiria
Genre: Mystery, Thriller, Fantasy, Horror
Released: October 26, 2018
Duration: 152 min
Rating: 64
Cast: Alek Wek, Angela Winkler, Chloë Grace Moretz, Christine Leboutte, Dakota Johnson

2018

METASCORE

Generally favorable reviews based on 54 Critics

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USER SCORE

Generally favorable reviews based on 54 Ratings

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7.4

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7.4	User Score Generally favorable reviews based on 54 Ratings

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Suspiria (Trailer 1)

Movie Details & Credits

Amazon Studios | Release Date: October 26, 2018

Starring: Alek Wek, Angela Winkler, Chloë Grace Moretz, Christine Leboutte, Dakota Johnson, Doris Hick, Elena Fokina, Fabrizia Sacchi, Ingrid Caven, Jessica Batut, Jessica Harper, Lutz Ebersdorf, Malgorzata Bela, Mia Goth, Renée Soutendijk, Sylvie Testud, Tilda Swinton, Vanda Capriolo

Movie Facts: The original horror classic Suspiria directed by Dario Argento is "truly is one of the absolute classics of the horror genre (RogerEbert.com's Peter Sobczynski)" and has a Metascore of 79.

Summary: A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director (Tilda Swinton), an ambitious young dancer (Dakota Johnson), and a grieving psychotherapist (Lutz Ebersdorf). Some will succumb to the nightmare. Others will finally wake up.

Director: Luca Guadagnino

Genre(s): Mystery, Thriller, Fantasy, Horror

Rating: R

Runtime: 152 min

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Awards & Rankings

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Critic Reviews

100

ScreenCrush - Britt Hayes

Sep 24, 2018

It is impossible to discuss the rapturous, experiential masterpiece that is Guadagnino’s Suspiria without dedicating this much space to its thematic density. It’s not a film one considers, but excavates, continually finding additional symbols and meaning within the deceptively simple setting. Read full review

The Playlist - Jessica Kiang

Sep 1, 2018

It’s a long, deliriously filmic, primal banshee-howl of macabre imagination that leaves us hormonal and drunk on delusion: the beautiful, thrilling, lurid lie of cinema. Read full review

Austin Chronicle - Jenny Nulf

Oct 31, 2018

Suspiria is not a movie that will gel with everyone. It will awaken the sickest, most twisted parts of your mind if you allow it. Read full review

Film Journal International - Maitland McDonagh

Oct 25, 2018

It’s a smart reimagining, but not a particularly compelling one, which is the problem overall. Read full review

Rolling Stone - Peter Travers

Oct 24, 2018

Polarizing is too tame a word to describe reactions to Luca Guadagnino’s radical rethinking of Suspiria. Either you’ll dig in or bolt for the exit — no in between. Read full review

Chicago Sun-Times - Richard Roeper

Nov 1, 2018

Despite some interesting performances and impressive art direction, director Luca Guadagnino’s take on the 1977, cult-favorite, supernatural horror film by Dario Argento is an arduous, overstuffed, convoluted and trashy piece — bloated and graphically blood-soaked, guaranteed to make you cringe at times, but not the least bit chilling or haunting. Read full review

San Francisco Chronicle - Mick LaSalle

Oct 31, 2018

Suspiria is not just a movie unworthy of your time. It’s an experience one should reflexively recoil from, up there with things like fire, pain, humiliation and embarrassment. Easily, it’s one of the worst movies of 2018. Read full review

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User Reviews

Tuneison

Nov 1, 2018

2018's Suspiria manages to be both a faithful remake to the original and, it's own thing entirely. The film's color palate is in direct contrast to the original along with many other things. Suspiria expects you to understand what is going on based on your knowledge of the original and, with2018's Suspiria manages to be both a faithful remake to the original and, it's own thing entirely. The film's color palate is in direct contrast to the original along with many other things. Suspiria expects you to understand what is going on based on your knowledge of the original and, with that in mind, it allows the movie to cut out a lot of the exposition and, dive straight into the heart of the insanity at the core of the film. Literally aspect of this film is fantastic and, to say more would to spoil the experience.… Expand

2 of 3 users found this helpful21

gamedevilbee

Nov 4, 2018

ปวดหัวหนักมาก ไม่เคยดูหนังที่น่ากลัวและสยองมากๆมาก่อนเลย ทั้งงานภาพของพี่สอง สยมภู ที่สวยงามมากกับคอสตูมที่ปังมากๆ และการตัดต่อที่ตัดได้น่ากลัวและเพลินตามาก เหมือนเป็นหนังรวมคนเทพๆทั้งหมดรวมกันในหนังเรื่องเดียวเลยออกมาได้ไร้ที่ติใดๆเลย
ด้านการแสดง ต้องขอชื่นชมกับ Dakota Johnsonปวดหัวหนักมาก ไม่เคยดูหนังที่น่ากลัวและสยองมากๆมาก่อนเลย ทั้งงานภาพของพี่สอง สยมภู ที่สวยงามมากกับคอสตูมที่ปังมากๆ และการตัดต่อที่ตัดได้น่ากลัวและเพลินตามาก เหมือนเป็นหนังรวมคนเทพๆทั้งหมดรวมกันในหนังเรื่องเดียวเลยออกมาได้ไร้ที่ติใดๆเลย
ด้านการแสดง ต้องขอชื่นชมกับ Dakota Johnson พลิกบทบาทเป็นตัวเอกของเรื่องเลย จะทำให้ลืมตัวเอกเวอร์ชั่นก่อนได้หมดจด ทั้งLookทุกLook ที่สวยมากๆ โดยเฉพาะฉาย Climax จะบอกว่านางสวยโครตๆๆๆๆๆๆ
ในใจแอดแบบตายแล้วๆๆๆ กูโดนตกแล้ว 5555+
#งู้ยยยยยยยยยยย
Tilda Swinton มีความเป็นตัวแม่สูงมาก มีความน่าเกรงขามในตัว แต่ไปๆมาๆแอดชิปมาดามกับชูชี่ไปที่เรียบร้อยแล้วครับผม 555+
แอดก็ชอบบทของ Mia Goth มาเลยนะ นางน่ารักมาก เคมีก็เข้ากับนางเอกจนแอบจิ้นไปอีกคู่ 555+
และแอดก็ดีใจมากๆที่ได้เห็น Jessica Harper นางเอกเวอร์ชั่น 1977 มาร่วมจอในบทเล็กๆในเรื่องนี้มาน้่อยต่อยหนักพอสมควรในด้านอารมณ์ตัวละคร ทำแอดนั่งร้องไห้ปลิ้มปริ่มในโรงมาก งืออออออออ ดีใจจจจ
ส่วนด้านเพลงประกอบที่ได้ Thom Yorke จากวง Radiohead มาทำหน้าที่นี้ไว้ ซึ่งแกก็ทำได้ดีมากๆ
แอดชอบอยู่ 6 เพลงเลย
- The Hooks
- Suspirium
- Volk (มันคือ Step-Up เวอร์ชั่นดาร์กชัดๆ)
- Open Again
- Olga's Destruction (Volk tape) (ชีนนั้นยังติดตา สมการรอคอยมาก)
- Unmade (เพลงนี้ฟังบ่อยมาก โครตชอบ)
สรุป ใครที่ไม่เคยดูเวอร์ชั่น 1977 หรือเคยดู ก็ดูรู้เรื่องได้นะ เพราะมันรื้อใหม่หมดเลย ไม่ต้องไปกลัวว่ามันจะซ้ำชาก เพราะเวอร์ชั่นนี้จะสยองแบบจัดหนักจัดเต็ม… Expand

1 of 1 users found this helpful10

cabby_patata

Nov 3, 2018

Instead of creating a film with unoriginal and flavourless scares, Guadagnino injects style and ghastly flare into Suspiria, forming a complex and meaningful plot with images that will occupy your mind long after the credits role.

1 of 2 users found this helpful11

MattBrady99

Nov 7, 2018

LIFF32 (2018) #1

“This isn't vanity! This is art!” ‘Suspiria (2018)’ is one of those movies that you initially thought were “okay”, but hits you so damn hard when reflecting. I wouldn’t even consider it a remake, because in terms of style and execution there’s a massive difference. AfterLIFF32 (2018) #1

“This isn't vanity! This is art!”

‘Suspiria (2018)’ is one of those movies that you initially thought were “okay”, but hits you so damn hard when reflecting. I wouldn’t even consider it a remake, because in terms of style and execution there’s a massive difference. After eavesdropping to a mix audience, which itself speaks volumes for what type of movie this is. I was slightly underwhelmed at first, if I have to be honest. I really didn’t know what to think and if I enjoyed it or not. After letting the madness settle in, it’s growing on me.

The filmography of Luca Guadagnino is interesting to say the least. How do you go from a gay indie flick about a teenager exploring his sexuality in ‘Call Me By Your Name’, to ‘THIS’. Still, Luca made a wise decision of not duplicating the original and instead going for his vision. His visual flare is present and approves certain areas from 1977 version.

The deaths are more brutal and horrific to watch. There’s plenty of scenes that got under my skin and some of it wasn’t anything graphic. Plus the atmospheric score that shook up the room, literally. I’ve only seen two films from Luca Guadagnino, but he’s a director to look at for.

This guy directed one hell of a finale.

The cinematography is striking and contains old school zoom in - which adds to the tense tone. Also the sound work is absolutely fantastic and detailed with everything. Sharp objects, movement in dance, bone cracks, etc.

I'm thrilled to see Dakota Johnson in something that isn't ‘50 Shades’. She’s a good dancer as well. Tilda Swinton is great as always and insane she’s playing three different roles in the film. One being Madame Blanc, Helena Markos, Dr. Josef Klemperer (the old man). Originally credited as Lutz Ebersdorf, there was rumors since filming started that it’s Swinton in disguise, which I already guessed from seeing leaked images on set. Something about it I knew didn’t look right. It’s similar to ‘The Grand Budapest Hotel’, just more secretive.

Most of the time it worked and she nailed down the ‘hard to reach’ movement for any old person. Anytime there’s a far away shot, you wouldn't’ guess it was her. However, the character mini-subplot wasn't that interesting and dragged the pacing down, in my opinion. Whenever Klemperer interacts with other characters in therapy sessions or meet ups, it wasn’t too bad.

Some of the make-up was good when used effectively and isn’t showy. The other half looked pretty bad and painfully noticeable. The visual effects are really awful and took away the insanity, because of how unfinished it was. I mean, decent practical effect’s would’ve been better.

Despite my issues and still having mix feelings about it - the movie really dose haunt your thoughts long after it’s over. Almost like a spell. Check it out if this is your type of movie, but not for everyone.

Overall rating: “Higher!”… Expand

0 of 0 users found this helpful00

NightReviews

Nov 12, 2018

Luca Guadagnino is a director on the brink of creative and artistic freedom following the highly applauded Oscar Nominated film Call Me By Your Name in 2017. So, with the cinematic world at your hands, why would the unique director follow up with a remake of the 1977 classic-camp horror filmLuca Guadagnino is a director on the brink of creative and artistic freedom following the highly applauded Oscar Nominated film Call Me By Your Name in 2017. So, with the cinematic world at your hands, why would the unique director follow up with a remake of the 1977 classic-camp horror film Suspiria? Clocking in at almost over an hour more of footage, creating whole new characters for the film and a cameo from the original film, Guadagnino creates a blood soaked, poetic and subtextual allegory of evil, darkness and madness for a 2018 audience that may not quite be ready for such a consuming cinematic experience. Although remakes usually tend to roll eyes, this is not the director’s first remake. Loosely based on Jaques Deray La Piscine, Guadagnino’s 2015’s A Bigger Splash is a bright and hormonally driven comedic romp that blends dialogue with physical action to the point of hysteria. For his 2018 remake Suspiria, Guadagnino and his Splash screenwriter David Kajganich instill constant fear to a 1977 based German, filled with left wing extremists vying for a better Germany, bombs, not-so-subtle references to the Berlin Wall, and of course, the potential of witchcraft and demonic presences inside the prestigious Markos Dance Academy in West Berlin.

Despite all of this, a young and talented dancer Susie Bannion (Dakota Johnson) auditions and quickly gets accepted into the Academy following the departure of a young protege leaving the school; the talented Patricia (Chloë Grace Moretz). Upon fleeing the academy, Patricia begins donning disruptive and obsessive behaviour, convinced that the mothers and matrons of the school an in fact, witches who, as she claims, “hollow her out and eat her **** on a plate”. Patricia finds the comfort of German doctor Dr. Josef Klemperer, a psychoanalyst who is fighting his own demons having lived the second World War, and losing his wife to the Nazis. The role of Dr. Klemperer had its own share of headlines and controversy once production began; solely because the initial casting of the role was given to an unknown German actor named Lutz Ebersdorf. Guadagnino, who can certainly cast whomever he wants in his films now, was asked viciously why he casted an unknown for the role, and questioned heavily. It wasn’t until shortly after, that the role was in fact revealed to belong to Swinton, in heavy prosthetic make-up. Yet, while Swinton is masterful in Suspiria as Dr.Klemperer, who role as the audacious Madame Blanc is stiffly terrifying. Swinton, who has appeared in many of Guadagnino’s films, shares a perplexing horror to Blanc’s character, that is both disallowing, yet very humanistic and alluring. Swinton is among one of the biggest reasons to watch the film, as always.

Guadagnino has reached a point of prestige and elitism amongst Hollywood, especially within the independent film community. While Suspiria is by no means a film that would be recommended to anyone, possibly not many, gliding acceptingly within the fine lines of art-house type cinema and independent fanfare, Suspiria is so long, so wrought and entirely unapologetic that Gaudagnino and company seemed to have created a film entirely for themselves; a self-pleasure piece of cinema that is both artistically adventurous and simplistically fine existing for itself, and itself only. While the narrative could have easily been cut down an hour (as seen with the original), that extra bit of runtime allows for Guadagnino’s character study piece (more than a horror piece) to develop in quite a patient fashion. While its always hard to outdo Swinton when it comes to acting next to her, Dakota Johnson does everything and more to prove that she belong amongst the ranks of rising upcoming actors in cinema. Johnson, who’s claim to fame is the leather-bound role of Anastasia Steele in the Fifty Shades trilogy, gives Natalie Portman a run for her money in her Award winning role as a tormented ballet performer in Black Swan. Johnson intensely physical performance, pair with her dynamic nuances show the actresses acting strengths and gives hope for more captivating roles for many years to come.

While Suspiria can take the shape of many genres throughout its entire runtime, the horror/thriller niche seems to be the most fitting thanks to some memorable scenes that may not entirely scare you, but you can damn well bet they will gross you out. One of the most memorable and equally disturbing scenes in the film shows one of the dancers upset with Patricia’s disappearance, storming out of the Academy, and Susie taking her place. While Olga (Elena Fokina) leaves, in the midst of Susie’s interpretive performance of the now absent Olga’s role, Olga becomes possessed and entrapped in a mirrored studio. Juxtaposing Susie’s movements with Olga’s unwilling bodily movements, her body contorts In inhumane ways.… Expand

0 of 0 users found this helpful00

portmanteau

Nov 15, 2018

All the goodwill and hard work done in the movie is frittered away in the final act. There's some beautiful moments in this film, astonishing production design and cinematography, beautifully crafted tension,and some hypnotic ambiguity. But that all gets chucked out the window with anAll the goodwill and hard work done in the movie is frittered away in the final act. There's some beautiful moments in this film, astonishing production design and cinematography, beautifully crafted tension,and some hypnotic ambiguity. But that all gets chucked out the window with an unintentionally comedic crescendo. Which tonally drives off a cliff.… Expand

0 of 0 users found this helpful00

TVJerry

Nov 7, 2018

Dakota Johnson stars as an American who joins a dance troupe in '70s Berlin. Turns out there's an undercurrent of witchy evil that pervades the place. What follows is 2 hours of slow, pretentious, atmospheric drama that leads to the messy, bloody, ultimately disappointing climax. That's 152Dakota Johnson stars as an American who joins a dance troupe in '70s Berlin. Turns out there's an undercurrent of witchy evil that pervades the place. What follows is 2 hours of slow, pretentious, atmospheric drama that leads to the messy, bloody, ultimately disappointing climax. That's 152 minutes of wretched waste. The only interesting aspect of this film is that Tilda Swinton plays 2 roles: the choreographer (as a woman) and a well-disguised male physiatrist (who's billed as Lutz Ebersdorf). The worst movie of the year (so far).… Expand

0 of 0 users found this helpful00

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