'Suspiria' (2018) Review

Young American dancer Susie Bannion arrives in 1970s Berlin to audition for the world-renowned Helena Markos Dance Co. When she vaults to the role of lead dancer, the woman she replaces breaks down and accuses the company's female directors of witchcraft. Meanwhile, an inquisitive psychotherapist and a member of the troupe uncover dark and sinister secrets as they probe the depths of the studio's hidden underground chambers.

Directed by Luca Guadagnino, Suspiria is a remake of the 1977 film which is widely considered a classic among the horror community (I've never seen the original, so I can't really compare the two or offer my own thoughts). If there's one thing that I'm certain of though, it's that Suspiria will likely be one of the more polarizing films to be released this year. Frankly, I'm surprised it still has a fresh audience score on Rotten Tomatoes (currently at 72%). I say that because I consider Suspiria to be arthouse horror and general audience members tend to hate those sorts of films. I, myself, am even conflicted on the film and will be the first to admit that it just wasn't for me, similarly to last year's mother!.

Like mother!, Suspiria wavers between being meandering and bloodcurdling. Similarly to how I felt about mother!, I respected its craft but was unable to invest myself in the story due to the cold, composed characterization. An opening title card informs the viewer that the film contains "six acts and an epilogue set in divided Berlin," but I'll go ahead and let you know the sixth act is a blood-thirsty fever dream. If that sounds up your alley, then by all means, go see Suspiria if it's playing near you. Otherwise, I'd stay as far away as possible because it's very long and relentlessly violent.

My biggest knock against Suspiria aside from its cold characterization would be that its two and a half hour long runtime was quite excessive. If you're immersed in the film's atmosphere, this probably won't be an issue, but I found myself bored during many of the dialogue and dance sequences, then mortified for the remainder. Otherwise, it's competently made and features an exceptional ensemble. The cinematography and score are entrancing while the hair and makeup work is extraordinary to say the least, allowing Tilda Swinton to camouflage herself and embody three different roles. I was just unengaged with the story unfolding and deeply disturbed by much of the unsettling imagery.

Though I found Suspiria to be mostly aimless, even I'll admit that the cast did an excellent job all around. Dakota Johnson, Mia Goth, and Tilda Swinton were stand-outs in particular, but the cascade of supporting actresses did a fine job as well. Really, I didn't hate this film so much as I was repeatedly repelled by it. If it's any consolation, I'm astounded that this came from the director of Call Me By Your Name and my objective score would be a bit higher.

If you're into gore, guts, and grotesque body contortion, then this just might be the movie for you! As the official Suspiria Twitter account likes to boast, "Suspiria is fun for the whole family!" (in all seriousness though, don't subject children to this film unless you intend to punish them or you never want them to sleep again).

Film Assessment: C-

Throwback Thursday Review: 'The Equalizer'

Since there were two major sequel releases this past weekend, I decided to share two Throwback Thursday Reviews coinciding with both films. I'm a little late on this one due to the hub-bub of San Diego Comic Con, but I've already published my reviews of Mamma Mia! and Mamma Mia! Here We Go Again and you can expect my review of The Equalizer 2 soon. This week, I aim to review Teen Titans Go! To The Movies and complete my Mission: Impossible series of reviews with reviews for Mission: Impossible - Ghost Protocol, Mission: Impossible - Rogue Nation, and the upcoming Mission: Impossible - Fallout. Additionally, I will be likely be sharing my thoughts on You Were Never Really Here and Love, Simon sometime before my post disclosing my best and worst films of the year so far. I've also decided to push that post back one last time to give my other reviews some breathing room.

'The Equalizer' Review

The Equalizer trails Robert McCall, a man who's put his mysterious past behind him and dedicated himself to starting a quiet life. But when McCall meets a young girl who has been exploited and manhandled by violent Russian mobsters, he comes out of self-imposed retirement and hones his particular skillset to fight for the helpless.

Based on an '80s television series, The Equalizer was written by Richard Wenk and directed by Antoine Fuqua. While Fuqua's direction is slick and stylish, this vigilante thriller is firmly grounded in reality and McCall's humanity as well. If it weren't for his exceptional skillset, McCall would be no different from the "Average Joe," and this is communicated quite well as the hum-drum of his ordinary life unfolds at the start. He makes do working at a Home Mart, motivating those closest to him, and reading through each book on the list of 100 books everyone should read. He really does seem like a normal guy till everything goes south. It's a slow burn to get to the real action, but the wait is worth it because of everything it does to develop McCall and instill an understanding of his surrounding community.

Although the jump-cut edits are excessive at times and it's therefore more difficult to follow the fight choreography, the action in and of itself is gritty, gruesome, and particularly enjoyable to watch. The jump-cuts were probably done to mask Denzel and his stunt double, but they also detract from the flow of the sequence and are quite jarring. In that regard, The Equalizer is hardly different from any other run-of-the-mill action flicks to be released in the last ten years. 

What sets The Equalizer apart from today's action-thriller landscape is having an actor of Denzel Washington's caliber front and center. While hardly his best work, Washington brings a calm, stoic demeanor to McCall that contrasts wonderfully with the brutality on display. Washington also pairs nicely with whoever he's sharing the screen with, whether it be Chöe Grace Moretz, Johnny Skourtis, Melissa Leo, Bill Pullman. Haley Bennett, or David Harbour. 

Opposite Denzel, Marston Csokas relishes in the villainy of playing a Russian mobster. While certainly not a ground-breaking portrayal or even a well-rounded role from a writing perspective, Csokas elevates his material tremendously and makes for a menacing antagonist despite his nonthreatening name of Teddy.

All things being equal, The Equalizer balances the scales as an entertaining action-thriller that's well-worth a watch. It may not be a genre game-changer, but it wasn't ever trying to be, and that's well within reason. 

Film Assessment: B-