“Dark Glasses” (2022) had me looking with rose-colored (or “Deep Red”-colored) glasses back at Dario Argento’s career. The writer-director was likely doing that himself as
Dario Argento has his own style, but it can’t be denied he rolls with the times. His ’70s films look like the Seventies, his ’80s
Dario Argento combines aspects of his greatest hits with Aughts trends in “The Card Player” (2003), an ultimately ridiculous but incongruously watchable giallo. While the
As the century turned, Dario Argento had already earned the title of Master of Giallo, and while some would argue he’s done nothing in the
In my Dario Argento reviews up to this point in his filmography, I’ve given at least a mild recommendation to everything except 1990’s “Black Cat”
Asia Argento gives Schrodinger’s Performance in “The Stendhal Syndrome” (1996): She’s simultaneously excellent and totally miscast. She plays Anna and carries us through the film
Dario Argento’s only full-length American production, “Trauma” (1993), is also his best movie that never gets talked about. It still has the Argento formula of
Edgar Allan Poe is the godfather of both the horror and mystery genres so it’s appropriate that filmmaking friends George A. Romero (the “Dead” series)
By the time of his ninth film in the horror-thriller genre, people knew what to expect from Dario Argento, but he has that knack –
“Phenomena” (1985) doesn’t stand out from the pack of Dario Argento’s catalog in a way we might hope, since it is sometimes called Argento’s “Carrie.”