“The Blood on Satan’s Claw” (1971) comes up on a lot of lists of suggestions for films in the daylight/folk horror spirit of “The VVitch,”
“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”
“One, Two, Three” (1961) is a good showcase of what writers Billy Wilder and I.A.L. Diamond can do with quick-hitting language. Though it is stagier
If Dario Argento constructed beautiful horror castles, his mentor Mario Bava laid the foundations and dug out the basements first. As such, he’s a director
I’ve found a lot of proto-slasher giallo films are still engrossing today due to not only the cinema-history lesson but also the stories and craft.
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