Film Review: Godzilla vs. SpaceGodzilla (1994)

Release Date: December 10th, 1994 (Japan)
Directed by: Kensho Yamashita
Written by: Hiroshi Kashiwabara
Music by: Takayuki Hattori
Cast: Megumi Odaka, Jun Hashizume, Zenkichi Yoneyama, Akira Emoto, Towako Yoshikawa, Kenji Sahara

Toho Co. Ltd., 108 Minutes

Review:

“Godzilla! I still have something to settle with you!” – Lt. Kiyoshi Sato

This was the second to last of the Heisei era Godzilla films and while they tried to up the ante and get really creative, it falls just short of the film before it: Godzilla vs. Mechagodzilla II.

The story picks up the plot threads about Godzilla Junior and the psychic chick from the previous movie. However, it mainly focuses on the arrival of SpaceGodzilla, who basically looks like a larger Godzilla with giant crystals protruding from its body. The creature’s origin isn’t clear in the film but it’s been theorized that he was born from Godzilla’s cells that ended up in the cosmos by either Mothra or Biollante’s spores. It’s believed that the cells were mixed with black hole radiation.

Anyway, the film also features the return of Moguera to the big screen. While this giant robot was never used in a Godzilla film before, it first appeared in Toho’s 1957 film The Mysterians. Moguera had then been used in other Godzilla related media. In the US, the giant robot is probably most recognized as an early boss in the original Nintendo Godzilla game.

In this film, Moguera, now spelled M.O.G.U.E.R.A. is created from the left over tech and armor that was salvaged from Mechagodzilla after its defeat in the previous movie. Since Mechagodzilla was created from left over parts of Mecha-King Ghidorah, it ties all these films together. And frankly, I like that Toho was really trying to keep a tight continuity in this era unlike the Millennium era that followed a few years later.

For the most part, the movie is engaging and enjoyable and it fits well within this series. My only real complaint about it is that the effects feel like they’re a step down from the previous few films. Maybe it’s due to the weird environment changes, like seeing the kaiju battle in a city populated with giant crystals and smoke, as opposed to detailed metropolitan miniatures but it does feel like SpaceGodzilla was created just to find a way to cut the budget in regards to effects.

Also, the Godzilla Junior suit is hokey as hell after it looked really good in the previous chapter.

In the end, though, I really like the baddie and seeing Moguera officially enter Godzilla cinematic canon was cool. But really, this is just more of the same when compared to the rest of the Heisei pictures.

Rating: 7/10
Pairs well with: other Godzilla films from the Heisei era.

Film Review: Green Lantern (2011)

Release Date: June 14th, 2011 (New Zealand)
Directed by: Martin Campbell
Written by: Greg Berlanti, Michael Green, Marc Guggenheim, Michael Goldenberg
Based on: characters by DC Comics
Music by: James Newton Howard
Cast: Ryan Reynolds, Blake Lively, Peter Sarsgaard, Mark Strong, Angela Bassett, Tim Robbins, Temuera Morrison, Geoffrey Rush (voice), Michael Clarke Duncan (voice), Taika Waititi, Clancy Brown (voice)

DC Entertainment, De Line Pictures, Warner Bros., 114 Minutes, 123 Minutes (Extended Cut)

Review:

“You’re impertinent, Hal Jordan. You’re rash, volatile, opinionated – It seems Abin Sur found another just like himself.” – Sinestro

Man, I had high hopes for this film when it was coming out. Although, I thought Ryan Reynolds was a poor choice, despite liking him in general. He’s just not the Hal Jordan type and luckily he found his superhero calling once he started making Deadpool movies. I’m ignoring his first outing as Deadpool in that Wolverine movie though, as that was atrocious beyond atrociousness.

Anyway, this film was a supreme dud. It could’ve been great, especially coming off of the heels of how great the Geoff Johns run was in the Green Lantern comics just before this movie. Also, this had an incredible cast apart from the Reynolds misfire.

I think my hopes were also high due to how well the Marvel Cinematic Universe movies were in those first few years. But I guess the filmmakers behind this didn’t learn the lessons from the bad comic book adaptations, as they took the villain Parallax and essentially made him a giant fucking cloud like Galactus in the laughably awful Fantastic Four: Rise of the Silver Surfer.

For positives, I liked what they were doing with Hector Hammond and I also liked the world building they did with the Green Lantern Corps. I also liked most of the people in the film but they should’ve used Sinestro more, especially with Mark Strong in the role. They also sort of wasted Tim Robbins and Angela Bassett without giving them more and better material to work with.

The special effects were pretty terrible. There are some good effects moments but the film looks overly cartoon-y and the Oa scenes felt more like a Pixar movie than anything I could try and attach to any sort of reality.

Also, giving the Green Lanterns fully CGI costumes was a bad idea.

I guess the biggest disappointment out of this was that it was directed by Martin Campbell, who did two of my favorite James Bond movies: GoldenEye and Casino Royale.

Rating: 4.25/10
Pairs well with: other crappy superhero movies of the ’00s and ’10s.

Documentary Review: Life After Flash (2017)

Release Date: October 2nd, 2017 (London premiere)
Directed by: Lisa Downs
Written by: Lisa Downs
Music by: Toby Dunham
Cast: Sam J. Jones, Melody Anderson, Brian Blessed, Topol, Peter Wyngarde, Richard O’Brien, Deep Roy, Brian May, Peter Duncan, Howard Blake, Barry Bostwick, Martha De Laurentiis, Richard Donner, Lou Ferrigno, Rich Fulcher, Sean Gunn, Jon Heder, Stan Lee, Ross Marquand, Josh McDermitt, Jason Mewes, Mark Millar, Robert Rodriguez, Michael Rooker, Alex Ross, Patrick Warburton, various

Strict Machine, Spare Change Films, 94 Minutes

Review:

This documentary has been in my queue for a bit but I wanted to revisit Flash Gordon first before checking this out. Luckily, I recently found my DVD of the original film and was able to watch it and review it a week or so ago.

Now that the 1980 film was fresh in my mind again, as I hadn’t seen it in years, I felt like I could go into this with more familiarity, context and creative reference.

Overall, this was pretty good and it was intriguing listening to Sam J. Jones’ story about how his career sort of fizzled out and the reasons behind that. Luckily, this is a Hollywood story with a positive outcome, as the guy is now doing well and on the right track, personally and career-wise.

This spends a lot of time talking about Jones but it also delves into the film’s production, history and features interviews with many of the people who were involved in it. I especially liked seeing Brian Blessed in this, as I’ve always loved that guy.

Life After Flash also explores the fandom a bit, as it interviews super fans and collectors but also allows them to show off their cool shit and talk about their love for the film.

I dug this documentary quite a bit, as I feel like the 1980 Flash Gordon doesn’t get enough love and has sort of been forgotten by modern audiences. 

Rating: 7/10
Pairs well with: other recent documentaries about filmmaking and specific fandoms.

Film Review: The Gauntlet (1977)

Release Date: December 17th, 1977 (Japan)
Directed by: Clint Eastwood
Written by: Michael Butler, Dennis Shryack
Music by: Jerry Fielding
Cast: Clint Eastwood, Sondra Locke, Pat Hingle, William Prince, Bill McKinney, Michael Cavanaugh

The Malpaso Company, Warner Bros., 109 Minutes

Review:

“You cheap shot, gutless bastard! You really get off roughing up girls, don’t you? Big man! Big 45 caliber fruit!” – Gus Mally

People often confuse this movie as a Dirty Harry film. It’s not but it is damn similar to that series and it fits well within its style and tone. I actually think of it as Dirty Harry 3.5 and often times mix it in when watching some Dirty Harry flicks.

While they actually played with the idea of making it a Dirty Harry picture, the film wasn’t originally made to star Clint Eastwood. In fact, Marlon Brando and Barbara Streisand were original cast for the film. Brando had some issues and was replaced by Steve McQueen. McQueen and Streisand pretty much hated each other and then both left the production. Clint Eastwood and his then significant other, Sandra Locke, were cast in their place. Eastwood’s production company then got involved and Eastwood ended up directing the film, as well.

The film’s plot is pretty simple. A tough-as-nails cop has to escort a prostitute from Las Vegas to Phoenix. However, the mob and someone on the inside of the police force wants her to die before she can make it to Phoenix. So Eastwood must protect her and get her to the finish line while dealing with an army of cops, criminals and a biker gang. Everything comes to a head in one of the greatest action movie finales of all-time, which sees Eastwood drive a bus into downtown Phoenix where he is met by the entire police force, who are armed to the teeth and dead set on preventing the bus from reaching its final destination.

That finale is so damn good and iconic that I think that people fixate on it when thinking about this film and forget about how good the movie is as a total package. In fact, this is my favorite non-western Eastwood film after the original Dirty Harry. And honestly, it’s pretty close in quality to Dirty Harry and I’d even say it has better replay value.

The action in the film is incredible, especially for the time. I don’t know if the movie holds the record for squibs used but it’s got to be pretty close to the top.

Also, it’s a picture that has aged tremendously well and plays much better than most modern action films that are created for the ADHD generation that needs constant engagement and for every stunt and action sequence to be bigger than anything they’ve seen before it. The Gauntlet is a very grounded film that feels real and seems plausible unlike one of the thirty-nine Fast & Furious movies.

If you’ve never seen The Gauntlet or just haven’t seen it in a long time, you should probably check it out. Eastwood is an absolute badass, Locke is tremendous and the greatness of that finale will outlive us all.

Rating: 8.5/10
Pairs well with: the Dirty Harry film series, as well as the Death Wish movies.

Film Review: Melody Time (1948)

Also known as: All In Fun (working title)
Release Date: May 27th, 1948
Directed by: Jack Kinney, Clyde Geronimi, Hamilton Luske, Wilfred Jackson
Written by: Winston Hibler, Harry Reeves, Ken Anderson, Erdman Penner, Homer Brightman, Ted Sears, Joe Rinaldi, Bill Cottrell, Jesse Marsh, Art Scott, Bob Moore, John Walbridge
Music by: Eliot Daniel, Paul J. Smith, Ken Darby
Cast: Roy Rogers, Trigger, Dennis Day, The Andrews Sisters, Fred Waring and the Pennsylvanians, Freddy Martin, Ethel Smith, Frances Langford, Buddy Clark, Bob Nolan, Sons of the Pioneers, The Dinning Sisters, Bobby Driscoll, Luana Patten

Walt Disney Animation Studios, RKO Radio Pictures, 72 Minutes

Review:

“In the state of Texas, USA, life still goes on in the same old way.” – Roy Rogers

Melody Time is the fifth of the six Walt Disney anthology/package films of the 1940s. This one is also a lot like Make Mine Music in that it mostly focuses on a series of musical numbers.

I’d say that this one is a bit better than Make Mine Music, as it features some live-action actors interacting with animated characters. Although, I don’t think that it’s as groundbreaking as The Three Caballeros in that regard.

While I appreciate these films, I much prefer the anthologies that feature stories or educational bits like Fun and Fancy Free, Saludos Amigos and The Adventures of Ichabod and Mr. Toad.

The animation is really good, the voice acting is solid and overall, this is an energetic and amusing film with great music. But I think, by this point, the animated anthologies were starting to get redundant and tiresome.

Luckily, Disney fans in 1948 were only two years away from the second great era of Disney animation with 1950’s Cinderella being just around the corner.

Rating: 6.25/10
Pairs well with: Disney’s other 1940s package/anthology films.

Comic Review: Negan Lives! – One-Shot

Published: July 1st, 2020
Written by: Robert Kirkman
Art by: Charlie Adlard

Image Comics, 36 Pages

Review:

Even though The Walking Dead comic series ended a year ago, I always figured that we’d get comics in the future.

Hopefully, this one-shot isn’t the last but I don’t think it will be. I’m not sure what Robert Kirkman’s plan is, if there even is any, but I think that stories will continue to pop into his head every now and then.

This story takes place somewhere between the time where Negan left the comic series and its finale. It shows Negan living on his own where a girl stumbles into his homestead. Negan knows that its an obvious setup and is just kind of waiting for some bad guys to show up and try to take his shit.

They do and like everyone else, they don’t kill Negan and end up paying for it with their lives.

Being that this is just a one-shot, it’s a short, simple story that is kind of similar to the episodes of the show that focus on one character for an hour. It doesn’t really move anything forward or effect the larger comic series.

Still, it was a good read and it was cool peaking in on the Negan character once again.

I only hope that the ending is a hint at something more to come with Negan or The Walking Dead universe, as a whole.

Rating: 7.75/10
Pairs well with: other Walking Dead comics.

Film Review: Shaft (2019)

Also known as: Son of Shaft (Germany)
Release Date: June 14th, 2019
Directed by: Tim Story
Written by: Kenya Barris, Alex Barnow
Based on: Shaft by Ernest Tidyman
Music by: Christopher Lennertz
Cast: Samuel L. Jackson, Jessie T. Usher, Richard Roundtree, Regina Hall, Alexandra Shipp, Titus Welliver, Method Man, Lauren Velez

Davis Entertainment, Khalabo Ink Society, Netflix, 111 Minutes

Review:

“You’re the one being misogynistic, I never even mentioned her gender! I’m an equal-opportunity ass-whooper!” – John Shaft II

I put this off for awhile, especially after revisiting the 2000 Shaft film, as I found that one to be really lackluster and not as good as my memories of it were.

However, this one was definitely better than the 2000 film and I think that had a lot to do with this installment being more comedic and lighthearted, even though it dealt with some serious stuff.

Overall, this plays more like a Bad Boys film where the buddy cop formula is played out by a father-son duo. The grandfather, the original John Shaft, joins them for the climax.

Sam Jackson is back on his A-game for this one but I’m sure it’ll rub sensitive, cancel culture Millennials the wrong way because he puts them on blast, repeatedly.

In fact, I give the filmmakers and the studio immense props for not taking the bitch route and making this an overly “woke” movie and instead, allowed it to be critical of this generation’s young adults, as seen through the eyes of the older generation.

Weirdly, though, this Shaft film seems to be a lot less obsessed with race and social politics. While I like that these issues have been at the forefront of the other four films in the franchise, it was actually kind of refreshing to see these characters just be badass and not just fighting for some sort of racial injustice.

With that, though, it sort of loses the long-lasting blaxploitation vibe that the name Shaft has carried since 1971. But maybe this was trying to convey that we were starting to enter a post-racial era before 2020 happened and fucked everything up again.

For the most part, I liked everyone in this film. Jessie T. Usher’s John Shaft Jr. was annoying but his character was supposed to be, as part of the story dealt with him being kind of a pussy and overly concerned with how society sees him. He’s a “woke” Millennial that has a grudge against his uber-masculine father, who wasn’t around when he grew up.

These character traits allowed for some great criticism of his generation, though, and Sam Jackson delivers his punches without remorse or worry that his snowflake son wants to hear it or not. In a lot of ways, it felt like the writers and Tim Story, the film’s directors, were trying to send a message to the kids of today that think they’ve got the world figured out.

It also felt that it was trying to convey the importance of fathers, which Hollywood seems to hate.

Honestly, this Shaft film felt like it was really trying to be anti-“woke”.

As far as the crime story goes, it’s a bit weak but in films like this, that stuff doesn’t matter too much. This is more of a film about three generations of men coming together, in spite of their personal issues, in an effort to force justice down the throats of some shitty scumbags.

In the end, this was a better movie than I thought it could be. I don’t think it necessarily needs a sequel but I’d be much more willing to check one out if the same creative team stayed on.

Rating: 7.25/10
Pairs well with: 2000’s Shaft, as well as the original ’70s Shaft trilogy.

Film Review: They Call Me Bruce? (1982)

Also known as: A Fistful of Chopsticks (working title)
Release Date: November 12th, 1982
Directed by: Elliott Hong
Written by: David B. Randolph
Music by: Tommy Vig
Cast: Johnny Yune, Margaux Hemingway, Pam Huntington, Ralph Mauro

Gold Pine Productions, 87 Minutes

Review:

“I am a sex object. I always ask women for sex, and they object.” – Bruce

I remember Joe Bob Briggs talking about this movie in one of his …Goes to the Drive-In books. I’ve never seen it but it was always in the back of my mind as something worth checking out because Joe Bob liked it.

Well, I actually didn’t expect that I’d like it as much as I did and it’s a movie that I wish I would’ve known about as a kid because I really would’ve dug it.

The film is full of goofy, absurdist humor and it’s almost slapstick at times. It follows a Korean guy that sucks at martial arts and is pretty much a coward. He idolizes Bruce Lee though, so he tries to follow in the man’s heroic footsteps. The mob bosses he works for also refer to him as “Bruce” due to his “resemblance” to Bruce Lee.

The film stars Johnny Yune and this is the only film I’ve seen him in. He’s actually damn good and carries the film on his own, even though there’s a little bit of help from Margaux Hemingway.

Yune’s charm is pretty infectious though and you can tell that he was enjoying making the film and had no qualms about playing a cowardly but lovable fool.

While the film’s script isn’t one of a high standard, even for ’80s comedies, it still features a good character arc that sees this loser evolve into something closer to what he envisions for himself.

It’s not a memorable film but it is a unique one in that I haven’t really seen anything else like it.

So I guess I should now track down its sequel, which I didn’t know existed until after I watched this film and started reading up on it and Yune.

Rating: 6.5/10
Pairs well with: its sequel, as well as other martial arts comedies.

Film Review: Cuties (2020)

Also known as: Mignonnes (original French title)
Release Date: January 23rd, 2020 (Sundance)
Directed by: Maïmouna Doucouré
Written by: Maïmouna Doucouré
Music by: Niko Noki
Cast: Fathia Youssouf, Médina El Aidi-Azouni, Esther Gohourou, Ilanah Cami-Goursolas, Maïmouna Gueye

Bien Ou Bien Productions, France 3 Cinéma, BAC Films, Canal+, 96 Minutes

Review:

I normally wouldn’t have watched this or even cared about it. But since it’s the most controversial film of the fucking year, I couldn’t not watch it, review it and give my two cents.

That being said, I’ll probably piss off both sides of the debate because I’m not going to bash it as “pedo candy”, I’ll explain why, and I’m not going to pass it off like some sort of amazing motion picture that the world has been begging for and has desperately needed.

To start, this is controversial because the film is about a group of young girls who are trying to be a dance team; these girls are all about eleven years-old. They’re influenced by the provocative and highly sexual dance moves that they see all over the Internet from rap videos and other sources.

This, of course, makes people uncomfortable and it’s supposed to. However, these moments don’t make up the bulk of the movie and the film itself is really focused on one girl primarily.

This girl, Amy, comes from an immigrant family who have moved to France from Senegal. Her family is very religious and her actions in the film are a rebellion against the traditions of that strict religion and an exploration of the new things she’s found, culturally, in her new home. All the while, she’s also broken up by how changes in her family dynamic are emotionally effecting her mother and the structure of the family unit she’s used to.

Watching this as an American, I don’t know much about the culture of Senegal and how immigrants from that country would be effected by the socially liberal French that they would find themselves surrounded by. Honestly, I was kind of intrigued by this and would’ve liked to have seen it explored in a broader sense and not specifically from the viewpoint of one character. But maybe for those in France, where this film was made, it’s not as interesting, as other French films may have touched on it already.

But I feel like this film is pretty disjointed and it’s not all that coherent from a narrative standpoint. It plays more like a series of sequences with some connectivity but a lot of the film seems really random. Its like the director/writer is recalling actual moments from her own experience growing up and doesn’t realize that the audience might need some deeper context.

For instance, there’s a scene where Amy takes a picture of her private parts and uploads it to the Internet. It’s random as hell, really uncomfortable and isn’t really followed up on in any meaningful way, other than having some kid at school slap her ass. Did it need to be in the film? Was it just there for shock value?

Additionally, this is a coming-of-age story and it’s not really clear what the main character has learned or how she’s grown. Sure, she has an emotional breakdown and what appears to be a scary moment of clarity when she’s achieved her goal but the movie sort of ends and you’re sort of just left going, “Um… okay?”

What’s even worse is that this film is really well acted from top-to-bottom but the performances feel wasted.

This had the makings of something that could’ve been interesting but it’s honestly a really boring and drab movie. Even though there’s a plot progression, it feels like not much happens apart from the uncomfortable finale and a few weird moments dropped in.

The thing that has people in an uproar are the scenes that have leaked out that feature these young girls dancing in an over-sexualized way. The thing is, if you know kids or remember when you were that age, kids didn’t know a damn thing about sex but they all talked about it. I remember girls in my middle school days emulating the dances they saw in 2 Live Crew videos. This is nothing knew but maybe I also grew up in a more urban area and I was exposed to things that middle America wasn’t. I can only speak from my own experiences and memories but I’m pretty sure kids this age, everywhere, weren’t too dissimilar.

What is bizarre and sort of counterproductive to the director’s stated intent, is how the dancing scenes are filmed. The movie is made to critique and expose the over-sexualization of kids, especially young girls, but in trying to speak out against that, the film does exactly that. So I have to conclude that the director is either lying to cover her ass or a moron.

You could’ve made your point without closeup shots of eleven year-olds crotches and booties. Once or twice, I might roll my eyes but it did feel gratuitous. And frankly, I think it would’ve been a lot more effective having them dance but having the camera looking out to the crowd, getting their reactions to seeing young girls dance in such a way. But I’m not the artist, here.

I can’t say that I’m offended by it, I just sort of got through these moments like, “Really, you had to go there?” And maybe this was deliberate and the director knew that it’d get attention and that the media and film industry being the way they are, would show support. I’m leaning more towards her being an idiot, though.

Additionally, what tune would Hollywood and the media be singing if this was made by a white dude? And since it’s not made by a white dude, is the director getting a free pass? Why do we have to even ask these questions in 2020?

While I think this isn’t “pedo candy” (or why it isn’t intended to be) is due to the fact that these moments don’t happen often in the overall running time of the picture. I highly doubt that the director had that intention. I think she wanted to make something personal but didn’t realize that she was doing the same thing she wanted to expose as a problem. You don’t clear a flood by hosing it down and someone else working on the picture or producing it should’ve stepped in.

It also doesn’t help how Netflix initially marketed this film. They’ve since apologized and removed their pedo-tastic poster but the damage was done and it makes you wonder about the suits at Netflix making these decisions. As you can see above, the film’s original poster wasn’t offensive or provocative.

So yeah, I get the pushback but I’ve never been a fan of puritans of any kind. While I’ve gone on Twitter to chime in on the film’s marketing in the US market, I didn’t feel like I had a right to comment on a film I hadn’t seen. But we live in a time where everyone is outraged about everything without actually having the full context. That’s the main reason I felt like I needed to watch the movie when I’m surrounded by those trashing it or talking it up without actually watching it.

Any critic that tells you that this is anything more than “meh” is a shill, however. While that’s my opinion, from my point-of-view, my opinion is fact.

In the end, without the controversy, this is a completely forgettable film. While I would’ve liked to have learned more about the Senegalese experience in France, I was left with a mostly boring movie that felt aimless and didn’t effectively make its point or develop its main character in any sort of meaningful way. In fact, this film does the opposite of what it set out to do.

Rating: 5/10
Pairs well with: other coming of age movies from Europe, I guess. I don’t watch a lot of those.

Film Review: Tenebrae (1982)

Also known as: Unsane (US alternative title)
Release Date: October 27th, 1982 (Tortona, Italy premiere)
Directed by: Dario Argento
Written by: Dario Argento
Music by: Goblin (credited as Claudio Simonetti, Fabio Pignatelli, Massimo Morante)
Cast: Anthony Franciosa, John Saxon, Daria Nicolodi, Giuliano Gemma

Sigma Cinematografica Roma, 101 Minutes, 91 Minutes (edited)

Review:

“Let me ask you something? If someone is killed with a Smith & Wesson revolver… Do you go and interview the president of Smith & Wesson?” – Peter Neal

Tenebrae or Unsane, as its also been called, is one of the Dario Argento movies that I’ve seen the least. In fact, it’s probably been twenty years since I last watched it. I kind of regret not revisiting it sooner, though, as my experience with it this time was pretty incredible.

While it’s not the best of Argento’s stories, it is one of his best directed films and it has some of the best visuals he’s ever done outside of Suspiria and Inferno.

This isn’t as stylish as his earliest giallo pictures but it feels more fine tuned and refined. It feels like the giallo style actually adapting and moving into a new decade. Now while the style was starting to disappear into the ’80s, this kept it alive for a bit longer and I think that’s because it feels like a more mature film. It certainly shows that Argento had really found his stride and in some regard, it almost plays like an Italian version of an early ’80s Brian De Palma neo-noir picture.

It’s almost uncanny that this was able to look so clean yet be so gritty and raw at the same time.

I think that some people may see this and think of it as watered down when compared to Argento’s earlier work but I think he really just tried to make a more palatable movie for a wider audience. Granted, Argento also doesn’t betray himself, as the finale gets incredibly bloody. However, the more reserved tone actually sets the climax up perfectly, as seeing an immense amount of vibrant red blood spray across a plain, white wall is pretty fucking jarring in an awesome way.

Additionally, this film features amazing camera work. There is a long tracking shot done by crane that is breathtaking to see and it has held up tremendously well. Also, some of the shots during the murder sequences are fantastic. The moment where you see cloth tear to reveal a woman filled with terror just as blood splashes across her face is, hands down, one of the best shots Argento ever captured.

Lastly, the score by three of the four members of regular Argento collaborators, Goblin, is one of their best. The film’s main theme would even be sampled by the French band Justice for two songs on their 2007 album Cross.

While this isn’t my favorite film of Argento’s from a story or even visual standpoint, it’s still a breathtaking experience that hit all the right notes and made me appreciate the director even more. 

Rating: 8.75/10
Pairs well with: Dario Argento’s other giallo pictures.