Suspiria and its thematic sequel Inferno both eventually became two of the most beloved entries in Argento’s career. The Three Mothers Trilogy stands as one of the boldest and most singular achievements of Argento’s career as a writer and director. The Black Cat is a formidable example of Dario Argento’s ability to create films where the tension of a single character seems to alter the very world in which they live.ġ2. The Poe connection may get a little fuzzy at times, but the main threads of the story never completely disappear amidst a sea of manic, enjoyable performances (Martin Balsam and John Amos in particular) and memorable practical effects from Tom Savini. Argento’s contribution is arguably the most successful of the two, although neither are without merit.Īrgento’s The Black Cat features a standout performance from Harvey Keitel as a crime scene photographer whose life takes a turn for the horrible when a black cat comes into his life. Unfortunately, neither of these films offer a completely satisfying experience, as each tries to simultaneously reimagine and pay tribute to Poe. Romero for two separate takes on the works of Edgar Allan Poe, Two Evil Eyes has a lot of different neat things in each movie. Teaming up with friend and fellow horror legend George A. There are some tremendous visuals and performances with Dario Argento’s half of the unique Two Evil Eyes. Two Evil Eyes (1990) Two Evil Eyes (1990) Expect simply to be entertained, and you’ll be just fine.ġ3. Sleepless may feel hollow for those who know Argento for his heavyweight contributions to Giallo or the supernatural, but you don’t need to carry such lofty expectations with this. Good chemistry between Sydow and Stefano Dionisi as a crucial ally in the investigation also helps to move things along to a satisfying conclusion. Again, this isn’t a groundbreaking film, but it’s satisfying as a suspense film and murder mystery. Where Sleepless succeeds most brilliantly is in how it sticks to good pacing, atmosphere, and some imaginative murder set pieces. It runs far with a simple, effective Giallo premise, and it trusts star Max Von Sydow to give the film a strong emotional core as a retired police detective reexamining his most famous case. Despite being a film that feels very much like a retread of past works, particularly Deep Red, there is no denying that Sleepless has style, energy, and a consistent tone. No one seems to quite know what to do here, but the enthusiasm is at least present.Īfter the shockingly bland, crushingly awful Phantom of the Opera, Argento largely came back to form with the satisfying 2001 release Sleeper. Barely anything works in this film, but Thomas Kretschmann as Dracula is certain to at least be memorable. The blood and eroticism you would expect are used with deadly seriousness, which makes for a bizarre experience in a film that quickly descends into lots and lots of unintentional comedy.ĭracula 3D has a surrealist approach to pacing, a wonderfully hammy performance by Rutger Hauer, and a plethora of ridiculous special effects.
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In many cases, lackluster performances dominate a script that doesn’t seem to believe it’s a Dracula movie to begin with.Īs Dracula adaptations go, Argento’s take on the Count could be kindly described as chaotic. The casting choices, particularly daughter Asia Argento as Lucy, are questionable. Often held up as the definitive example of Argento’s best days being behind him, let’s be honest right out of the gate and admit that Dracula 3D isn’t very good. A handful are masterpieces from a director who can truly say they have shown us things that are frightening, bold in their presentation, and cannot be found anywhere else.Īgain, even most of Argento’s weakest films still hold a few points of interest. While 15 doesn’t cover the entirety of Dario Argento’s filmography, it does keep us firmly among a selection of movies that are mostly good. He could also bring those talents to a wide range of horror film concepts. Argento had his preferred creative flourishes and collaborators. They can also easily be found among the best Giallo movies of all time. They can be supernatural stories, including his legendary Three Mothers Trilogy. The best Dario Argento movies are symphonies of strange and terrifying performances, extreme and extremely stylized violence, and a willingness to be audacious in every capacity. The worst of his films can be a mess, but that mess is rarely boring. While it could be argued that his best work occurred in the 70s and 80s, every decade of Argento’s prolific career offers at least a couple of movies that are worth your time. Since 1970, Dario Argento has been writing, directing, and producing some of the most internationally beloved horror movies of all time.
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