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 56 Critics

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USER SCORE

Generally favorable reviews based on 153 Ratings

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7.1	User Score Generally favorable reviews based on 153 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

84	#84 Most Discussed Movie of 2018

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Metascore

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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

IndieWire - David Ehrlich

Sep 1, 2018

Guadagnino dredges up the dead with such crazed purpose that his magnum opus is able to dance through its rough spots and make good on its foreboding promise. Read full review

New York Post - Sara Stewart

Oct 24, 2018

Director Luca Guadagnino pirouettes far from the easy-living, Italian-countryside romance of last year’s masterpiece “Call Me By Your Name” for an arthouse-meets-Grand Guignol reboot of one of the freakiest horror movies to come out of the 1970s. And he pulls it off in delicious, gut-punching style. 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

LarsenOnFilm - Josh Larsen

Oct 31, 2018

The first Suspiria is a psychedelic sensory experience, but it didn’t really mean much. The remake, written by David Kajganich and directed by Luca Guadagnino (Call Me by Your Name), tries to bring too much meaning to its horror conceit. 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

5 of 7 users found this helpful52

Panchogul

Jan 17, 2019

This review contains spoilers, click expand to view. Buenísima, algo totalmente diferente a la versión de Argento ya que Guadagnino creo su propia versión, excelentes actuaciones,fabulosa escenografía y banda sonora, el argumento esta bien pero me hubiese gustado saber un poco más de cada integrante del aquelarre en eespecial de Miss Griffith que realmente llamó mi atención, por otro lado, no encuentro que sea una película que asuste, pero si tiene la capacidad de absorberte y perturbarte por completo, fue mejor de lo que esperaba … Expand

1 of 1 users found this helpful10

PipeC

Apr 11, 2019

Bordering on brilliance, Guadagnino turns into Gaspar Noé and Darren Aronofsky in gut-wrenching new take on the giallo classic.

Don't hold your breath anymore, this new "Suspiria" is sheer atmosphere, austerity, and shock. Even if Argento himself considers it "betrayed the spirit of theBordering on brilliance, Guadagnino turns into Gaspar Noé and Darren Aronofsky in gut-wrenching new take on the giallo classic.

Don't hold your breath anymore, this new "Suspiria" is sheer atmosphere, austerity, and shock. Even if Argento himself considers it "betrayed the spirit of the original," it is one of the few rare slices of slow-burning horror as gorgeously gruesome as coldly visceral, as life-threatening and powerful as to set up itself as a polarizing modern masterpiece. It owns you, you try to get used to it and you're in; you fight back and I assure you that you will suffer even more than this savagely beautiful nightmare's ill-fated "innocents".

The script of American David Kajganich is like firewalking, every footstep is a new challenge that pushes you to move forward. The core premise itself is already more than appealing: prestigious dance company, omens, sacrifices, hierarchies, secrets and a glorious, over-the-top witches' Sabbath. Kajganich creates, however, more complex situations, leaves open some metaphorical sequences and, even though he doesn't turn characters into true humans, makes them more assertive to keep the viewer hooked. Of the six chapters and the epilogue the film is divided into— with such precise title cards that ridiculously mean each 20-minute division, —three are still in my mind brighter than ever, and even if the ending section hurts its modern masterpiece status, each chapter is maximized by a magnanimous Tilda Swinton and a resurgent Dakota Johnson.

As of today, it's already a tradition that from any of the film festivals comes a film that means an unforgettable experience, whatever the reason may be. Generally, they employ and/or deal with similar subjects: explicit violence operating in at least one sequence that makes the audience so uncomfortable that many leave the theater; uber-sensitive matters treated openly; to turn the viewer into a masochist or a voyeuristic, —that, and get one of the lowest grades on CinemaScore®. Darren Aronofsky owned that position with "mother!" two years ago, a multi-layered masterpiece of biblical and environmental metaphors. 2018 was an interestingly competitive year, with "Annihilation" and "' The House That Jack Built ' vying for the label. All the signs were that "Hereditary" was going to be the champion, but Amazon shot at Venice last September, obtaining statim the trophy. Poeticized by Sayombhu Mukdeeprom's glorious cinematography— Academy, cruel snub, —the imagery unfolded here is indelible, hair-tossingly fearless, and primitively spine-tingling. Within the walls of the Markos Dance Academy, life is given for art, dancers hiding out from the strong political and social storm out there, willing to spiral down into this infernal place; do anything for the sake of dance! Oppressively toning down from brown to gray, the film keeps its tone until the ending nightmare comes in, which replaces visions, dance sequences, rehearsals and upsetting developments with a slow-burn scarlet revelation. Occultism, witchcraft and awakening become flesh and blood in about twenty minutes, which also means sure sleepless nights. Walter Fasano's editing work is equally commendable, adapting to its profuse narrative and taking your breath away.

There's no room for doubt: what Guadagnino and all his talented crew have made is an achievement in capital letters. Cinematographically, it gives a perfect demonstration on how to present innovatively a point of view/original idea, no matter how insane it is. To exemplify one of the many pitch-perfect mixed moments between excellent sound editing, Thom Yorke's virtuoso score, cinematography, production design, performances and choreography itself is the most visceral, diabolically cruel dance sequence, if you already had the pleasure to see it, you know what I'm talking about; the masochistic initiation seance this new arty classic delivers is simply brutal, definitely not one for everyone. As odd and unnatural as intimate and predatory, the camera movements, angles and framing, particularly in the raw rehearsals, are brilliantly clever, passive or aggressive according to need, orchestrating an increasingly compelling whole. Leave skepticism and apathy behind, warm up and let's dance. "Suspiria" by Luca Guadagnino conjures up an unexpectedly political, obsessively disturbing and blistering chiller. Clearly, the most personal movie for the author yet, this standalone interpretation of Dario Argento's giallo classic is a blend of "Black Swan" and "mother!" starring a coven of witches. This unforgettable, masterful new take within the Markos dance academy values and respects its legacy, while at the same time, pushes the original to more terrifying, darker places, rising an experience like no other.… Expand

1 of 1 users found this helpful10

YelmerMotmans

Nov 19, 2018

Luca Guadagnino's Suspiria is beautifully directed and is able to keep the viewer interested, even with a considerable feature length. The film is very atmospheric thanks to the sombre colour palette and the setting. The music of Thom Yorke is undoubtedly one of the best soundtracks of theLuca Guadagnino's Suspiria is beautifully directed and is able to keep the viewer interested, even with a considerable feature length. The film is very atmospheric thanks to the sombre colour palette and the setting. The music of Thom Yorke is undoubtedly one of the best soundtracks of the past year. Suspiria is designed for a very limited audience and is therefore not appreciated by most viewers. The acting, however, is solid. Especially Tilda Swinton and Mia Goth are at their best here. The twist during the finale and how it was portrayed, is the biggest flaw of the film. The conclusion is not very consistent with the storyline. There are also a lot of background storylines going on, and the purpose of them may not be clear to the viewer. Suspiria is very stylish and sticks with us for a long time. The viewer may doubt afterwards whether this is a good or a bad film, but in any case encourages the viewer to think about it, even days after he has seen the movie.… Expand

1 of 1 users found this helpful10

marcmyworks

Nov 16, 2018

Oh boy, so I would say the first 2 hours of this film build a great deal of tension and have gruesome, original effects, however the last half-hour takes a wrong turn and becomes a cheesy arthouse mess. Dakota Johnson to me was the wrong casting choice for Susie Bannion as she delivers herOh boy, so I would say the first 2 hours of this film build a great deal of tension and have gruesome, original effects, however the last half-hour takes a wrong turn and becomes a cheesy arthouse mess. Dakota Johnson to me was the wrong casting choice for Susie Bannion as she delivers her lines without conviction. Overall the biggest crime of this remake isn't the disjointed story or the unlikeable characters but rather the ambiguous narrative that most independent horror directors nowadays use, which I find to be lazy.… Expand

3 of 4 users found this helpful31

thunderboltway

Nov 3, 2018

This review contains spoilers, click expand to view. This was a disappointment.

The Good:

-Dakota Johnson's dancing (and acting in first two acts)
-Two imaginative dream sequences
-The setting
-Literally backwards cinematography finally hits its stride in second act as it veers into voyeuristic territory, but is consistently an antogonistic character of its own (arc included) which can be interesting (when not distracting and overt) to observe
-Witchy stuff is generally handled pretty well
-Entire cast of witches and dancers were expertly chosen
-Very nice cameo by the original Susie actress
-Tilda Swinton as Madame Blanc rules
-Mad decent eroticism
-Clarifies the connection between dance and witchcraft solidly
-One scary sequence
-Absurdities of story / script sometimes played for dark laughs
-Good job, Thom Yorke

The Bad:

-Atrocious exposition writing. Expect wooden, forced telling instead of showing. Writing in Act 3 is particularly embarrassing.
-Dakota Johnson's acting in Act 3 (blaming the writer)
-Tilda Swinton cast as major psychologist character extremely distracting and forced (begs for post-processing on her voice, and if Guy Pearce bugged you in Prometheus this will too)
-Tilda Swinton as rubberized Helena Markos recalls the 90's Island of Doctor Moreau disaster
-Chloe Grace Moretz was thrown under the bus by this production
-Contains some of the worst dialogue ever committed to film
-Returns repeatedly to America like we give a f***
-Unnecessary back stories and side stories take over entire film by the end
-Tacked on, sophomoric social message grates on nerves like a Rupi Karr poem
-Tacked on twists ring flat, hollow
-Makes you feel embarrassed for Thom Yorke - even he can't redeem this climax, but you finally get why he was asked
-Historical context is blunt, forced, and distracting
-Symbolism is weak, sophomoric
-Repeated stench of amateurism
-Gruesome horror action scenes lack geography, horror, and effects budget necessary
-Hijacks Argento storyline to desperately tack on another, much worse drama story, alienating core audience ( Imagine if a Gremlins remake turned into Schindler's-List-meets-Munich and you're close )

Overall: A bold attempt of ambition and a triumph of setting, but a disaster of execution, world-building, and consistency. Strong dancing, setting, scenario, cast, and acting keep you from asking for your money back afterwards in an otherwise bottom-of-the-barrel B-movie on the level of Jupiter Ascending but without the redeeming camp factor. One scene was horror, and was therefore pretty neat!

Luca has a knack for interpersonal Drama but should be *banned* from Horror for life… Expand

0 of 1 users found this helpful01

sandborn

Jan 14, 2019

Lifeless and soulless, 90% of this movie is just plain empty. Pacing at a pretentiously slow rate, the amount of actual horror in this wouldn't even add up to 10 minutes. I was tempted to give 'Suspiria' 1 or 2 stars, but whatever good is in this, is utterly crushed by all the bad!

4 of 6 users found this helpful42

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