Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Palaest recommended

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Abegail Noëlle While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Mark Habeeb This is one the classiest and most well made horror movies i've seen. The movie is a murder mystery, psychological thriller, and slasher all at the same time. Dario Argento craftily combines all these elements and brings them into perfect harmony with this amazing movie. This movie opened the doors for me to the Italian Giallo genre. It really made me realize that I was missing out on a world of horror movies that I previously wasn't exposed to. This movie will keep you intrigued and hooked from the very first scene. It stylishly develops into its storyline and will keep you on the edge of your seat guessing what will happen next. It's a bigger than life type of film without intentionally trying to be. Those are the best kind of movies, that don't depend on crazy special effects and over the top story lines (taking over the world) to give you that bigger than life feel. But rather on its simple yet intriguing story and amazing atmosphere. Highly recommend to any movie fan!

FleshlightDestroyer Dario Argento's 'Deep Red' from 1975, gave me the chills. It's rare that a piece of art brings such primordial fear to the surface, with flair to match.The opening scene sets the tone masterfully. A static shot of a living room adorned with eccentric wallpaper and a modest Christmas tree, contrasted by a happy melody sung by a child, instantly sent me through memories of my childhood. After just enough time is given for this image to hit home, shadows appear on the wall of one figure stabbing another repeatedly with a large blade. This is followed by the blade thrown onto the floor in the center of the shot. What appears to be a child, enters the shot and stands over the blade. The images of my childhood were quickly slashed and twisted, replaced by ones of horror. Most of the scary scenes in this movie are equally as disturbing, on a visual and psychological level.Argento is known for this kind of work; Tones conveyed through imagery. This turns some people away from his work as not all of his stories are told by conventional means. I assure you, if this has been an issue of yours, this is the Argento movie for you.The plot follows a musician named Marc (David Hemming). After witnessing a murder, he believes he's seen a clue at the scene of the crime, but can't put his finger on it. An overzealous journalist; Gianna (Daria Nicolodi), arrives at the crime scene and suggests the two team up to find the killer. The plot thickens from there as more and more clues are presented, but not explained, forcing the viewer to become a detective as well. This all leads to a genuinely surprising and satisfying conclusion.Argento's imagery, camera-work, and lighting are as good as ever here. The difference with this movie is that the plot is told in a linear way, developed primarily through narrative. This is all complimented by great performances from every single actor (uncharacteristic of Argento's prior films).The only issue I have with this movie is the score. It is well composed and memorable, but does not match the context of the film. For example: A character will be slowly walking down a dimly lit hallway, tension being created by the camera-work, lighting, and pacing. All of the sudden a fast paced rock motif cuts in. I found this very distracting, especially considering how loud the mix is; however, the score was nominated for the Italian 'Silver Ribbon' award, so this is entirely subjective. Take my opinion with a grain of salt.All in all, Deep Red would be a masterpiece in my eyes, if I could get past its downright aggravating score. A classic in almost every respect.Verdict: 8.5/10

GL84 Following the brutal murder of a renowned psychic, a pianist witness teams up with a reporter to investigate the psychic's death but the twisting case provides plenty of clues with no connection to each other and they race to stop the killer before he strikes again.This here was one of the better gialli's ever made and one of Argento's strongest efforts. What really stands out here is that, like most gialli's of the time-period there's a great deal of effort paid to the strong story as it's one of the finest ever concocted in the genre. This is set-up from the beginning with the fantastic murder scene committed in shadows on a living room wall while an eerie lullaby plays out in the background, and then once the killings proper start this draws out plenty more to like within this. Following up the lullabye, they find the connection with the house and the shattered memories locked up in there and that leads to the connection with the children's drawings found at the elementary school and the struggle to piece all these together with the lone puzzle piece that he can remember from the initial attack he he witnessed. As always, we're given a clue to who the killer is, but the killer is always seen with such an item that using it as the definitive piece to prove the identity would be impossible. Giving only the traditional pair of black gloves, a brown jacket and blond hair, which are very common items or traits, are nearly impossible to use as evidence to name a killer, is a very rare and even completely refreshing thing to use as a manner of identification rather than either hardly seeing who it is or by not even showing them at all. All of this works incredibly well in leaving the film with a strong and engaging central mystery that comes across really well here and setting the stage for the centerpiece kill scenes that are known for the visually-creative methods of killing people. There's plenty to like about these graphic, brutal kills that manage to look stunningly beautiful as well as horribly graphic and brutal, which makes for a much better time here, and given that there's a slew of strong suspenseful stalking scenes scattered along the way there's plenty of stylish and impressive work here. Even the score is pretty creepy, and is one of Goblin's best, all making for a good time to hold out over the film's very few negatives. The one main thing negatively about this is it has a tendency to simply stop the plot altogether and concentrate on a particular character trait that doesn't need to be in the story. Here, it's at for having a middle act that is completely devoid of any activity. He really does nothing except simply have play the piano at odd intervals which has no tension, no suspense, hardly anything other than the typical penchant for filming boring scenes with odd shots and angles. Likewise, the one thing about the soundtrack was that it was used as a sound effect, popping out occasionally to surprise the viewer. It works well the first time, but grows repetitive and doesn't work as time goes on. Otherwise, this here is one of the genre's best efforts.Rated R: Graphic Violence, Brief Nudity, and Language.

Giallo Fanatic When I watched this movie I saw a lot of things that have been an influence to a lot of future movies. The camera angles for example are used in a lot of Tarantino movies, the close-ups with fast cuts and the long but elegant takes that stretch up to three minutes without cuts. Then also it has an influence on John Carpenter's "Halloween", Carpenter himself has stated that Dario Argento's movies have been an influence on his movies. Tarantino and Carpenter says that "Profondo Rosso" is a masterpiece. I would also call it Argento's masterpiece. It has a strong plot and a mysterious and intriguing story. It has interesting characters and great acting from the leads, with romantic and humorous parts that are actually quite convincing and good. It has supernatural aspects to it like, the psychic, the folkloric aspects of the story with the House and the Screaming Child. The camera work is as usual awesome and it is very artistic that many directors can't match today. I can't stop but respect how elegant the movie was shot. The Goblin soundtrack makes the movie even more awesome, combined with the cinematography.The only weakness the movie might have (which is also its strength) is the convoluted story, which many people attribute to as poor writing. But it is well thought out and it gives the movie high tension and strong dramatic value. The director doesn't simply spoon feed us with the story and it does require some reasoning, which is something that most audiences doesn't like doing. Reasoning. Also when Dario wrote the script it was more than 500 pages long and Dario's father and brother wanted it shortened since they felt a large part of the script to be almost cryptic. The audience would not understand. I found it hard to understand at first also, but a lot of the movie starts making sense when you figure it out. It is a Giallo after all. It is full of mystery which requires some reasoning from the audience. The ending if you ask me is one of the best plot twists ever put on film because it completely creeps me out and it took me completely by surprise. 'Profondo Rosso' has got to the creepiest movie Dario has made. I would say that this is Argento's best Giallo (although Tenebre is my personal favorite). Also the way the movie has tension would be something that even Hitchcock would approve of (Hitchcock was actually impressed by 'The Bird with the Crystal Plumage').P.S. This is a Giallo/Thriller and not an outright horror movie, so I think it is a bit unfair for calling it not scary enough. It delivers what a thriller should deliver, thrills and suspense.