Glad I finally revisited this after being left cold the first time around. The hype got to me when it initially came out, but now I’ve really warmed to it (it’s still more funny than scary, though the pain is palpable) and it’s interesting to note that for many less genre literate viewers. it was the first film that showed that horror can be metaphorical and intelligent, kicking off the “smart horror” era.
A sluggish, hollow exercise in pretension made utterly laughable by a finale that makes Argento’s own horrendous Mother of Tears look practically coherent. Guadagnino isn’t just content to misinterpret Argento’s cinema, but also rips off Żuławski and Fassbinder in a pitiable attempt to lend his gauche horrorshow some style and unnecessary sociohistorical gravity. Kenny Ortega gave us scarier witches than these.
This sunburnt poet-stoner picaresque filters the anarchy of Trash Humpers and threatening hedonism of Spring Breakers through the good-vibes-only seeking eyes of its lead character. The slightest and most docile of Korine’s output thus far, it’s a good fuckin’ time at the movies, but something of his outsider spirit feels compromised by its star-studded cast.