Suspiria (2018)

All non-Nolan related film, tv, and streaming discussions.
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Finally seeing it tomorrow! I'm so excited!

why is the climax of every horror film these days a bunch of naked people standing in a circle?
i thought it was great

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mchekhov 2: Chek Harder wrote:
November 14th, 2018, 10:19 pm
why is the climax of every horror film these days a bunch of naked people standing in a circle?
i thought it was great
ya got more than that keith?


-Vader

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After so much anticipation I finally saw this in a near filled cinema in Ljubljana, Slovenia; we had two squirmy walkouts in front of me, that’s it. Loved it, worth the time and I’d honestly go for the second night if it weren’t for some job obligations at home. Two of my friends really liked it as well and we talked about various themes and implications deep into the night. It is now an early morning, day after, I’m travelling by bus and can’t stop thinking about it. The Beauty of uglyness in the shape of Baudelaire aestheticism was in full effect near the end and I really liked how Luca interconnected the themes of motherhood, mentorship and control. Also, I felt like the background noise of Berlin ‘77 really helped in building a believable narrative of constant paranoia, fear and unease. It’s not a shocker horror (if we exclude the ending, which was beautiful in my opinion), but one of those genre rarities that get under your skin using the opposite methods, with careful methodical approach to everything. Editing was a complete masterclass, as well as sound mixing. I was lucky to be in a well equipped cinema. Cinematography goes the opposite way of the original, and for the better, since this is definitely a re-imagining and not just a remake of Argento’s cult favorite. Many callbacks to the original can be found though and I appreciated the updates immensely. The cast is mostly amazing, with Tilda absolutely chewing the scenery as the controlling and dominant Madame Blanc, and Dakota Johnson is just magnetic in the main role. The way she handled extremely physicaly demanding choreographies is commendable. Thom Yorke is no Goblin but something like that wouldn’t fit here either. Unmade will be in my mind for a good while... If I were to choose one favorite scene, the one that managed to both deeply disturb me and make my eyes glued to the screen in awe, like I’ve never seen such grotesque on the big screen? Olga scene, definitely. I feel like I need to watch this couple more times and write about it some more in the future, that’s how Suspiria 2018. made me feel. It’s bold, provocative, uncompromising and clearly a love letter to a single man-made cultural piece that formed this director into what he is today, you can’t fake true love, and Luca is now fully one of the greats for me.🕷️

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🕷️

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m4st4 wrote:
November 17th, 2018, 2:51 am
After so much anticipation I finally saw this in a near filled cinema in Ljubljana, Slovenia; we had two squirmy walkouts in front of me, that’s it. Loved it, worth the time and I’d honestly go for the second night if it weren’t for some job obligations at home. Two of my friends really liked it as well and we talked about various themes and implications deep into the night. It is now an early morning, day after, I’m travelling by bus and can’t stop thinking about it. The Beauty of uglyness in the shape of Baudelaire aestheticism was in full effect near the end and I really liked how Luca interconnected the themes of motherhood, mentorship and control. Also, I felt like the background noise of Berlin ‘77 really helped in building a believable narrative of constant paranoia, fear and unease. It’s not a shocker horror (if we exclude the ending, which was beautiful in my opinion), but one of those genre rarities that get under your skin using the opposite methods, with careful methodical approach to everything. Editing was a complete masterclass, as well as sound mixing. I was lucky to be in a well equipped cinema. Cinematography goes the opposite way of the original, and for the better, since this is definitely a re-imagining and not just a remake of Argento’s cult favorite. Many callbacks to the original can be found though and I appreciated the updates immensely. The cast is mostly amazing, with Tilda absolutely chewing the scenery as the controlling and dominant Madame Blanc, and Dakota Johnson is just magnetic in the main role. The way she handled extremely physicaly demanding choreographies is commendable. Thom Yorke is no Goblin but something like that wouldn’t fit here either. Unmade will be in my mind for a good while... If I were to choose one favorite scene, the one that managed to both deeply disturb me and make my eyes glued to the screen in awe, like I’ve never seen such grotesque on the big screen? Olga scene, definitely. I feel like I need to watch this couple more times and write about it some more in the future, that’s how Suspiria 2018. made me feel. It’s bold, provocative, uncompromising and clearly a love letter to a single man-made cultural piece that formed this director into what he is today, you can’t fake true love, and Luca is now fully one of the greats for me.🕷️
Hopefully Bacon isn’t too upset by your Yorke/Goblin comment. ;)

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Bacon is mature enough to realize what I was trying to say, stop digging your own hole.🕷️

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Was a joke.

Anyway, unfortunately this is shaping up to be quite a financial flop. Only has made 2 mill on a 20 million dollar budget (not including marketing). Not surprised but still...

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