Autumn Faust’s review published on Letterboxd:
If this as viewed as a genre film with all that stupid ass historical psychologist crap and the pretentious mounting excised, it's actually pretty dope. Very true to the original's primary mission of looking and sounding fresh as fuck. That film was more coherent for its tightness, and its sharper expressionism is superior to this film's subtle browns, that, while beautiful, convey nothing when necessarily separated from all the prolix they're meant to involve.
I really do not understand the angle of historicity Guadagnino takes here. Yes the original is about an ancient heritage of evil but I have no idea what the political climate that gives rise to the RAF has to do with it, and it can't be Nazis because they're never granted any spiritual mystery or even hardly a mention. The war is said to have been hard on the company, but even if this is meant to be an outright untruth, it's really never made clear what relevance the war or indeed any outside political context has to it and its original core narrative. Maybe the mothers no longer represent the rote evil of the pure genre original, as Guadagnino tries clumsily to reclaim them for feminism. I guess Dakota Johnson(<3) was horny against the rules and that makes her sympathetic, but empowering? The underexplained build suggests a substructure involving all the stuff I didn't care about, and I have a feeling this could make more sense to me down the line because of it, but look, I have no fucking clue right now; tonight I saw some genre stuff tinged with the experimental and some longwinded prestige stuff in the same movie and guess which parts were better.