After witnessing the murder of a famous psychic, a musician teams up with a feisty reporter to find the killer while evading attempts on their lives by the unseen assailant bent on keeping a dark secret buried.
A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
A young man tries to help a teenage European girl who escaped from a clinic hospital after witnessing the murder of her parents by a serial killer and they try to find the killer before the killer finds them.
Three years after the incident of the dance academy in "Suspiria", a new group of people are being watched in a New York City apartment building by a mysterious and evil force hell bent on revenge! When young poetess Rose Elliot finds out too much about the place (via an ancient book called "The Three Mothers"), she gets beheaded! The only person to stop the killings and uncover the secrets is her brother Mark, a music student in Rome. As he solves the puzzle, the murders get intense, and the demonic evil starts to reveal itself. As the unstoppable horror spreads from Rome to New York City, this unholy trinity must be stopped before the world is submerged in the blood of the innocent.Written by
English film critic Kim Newman once called Inferno the most underrated horror film of the 1980s. See more »
The scene at Central Park takes place during a lunar eclipse. However, the eclipse mimics the aesthetic characteristics of a solar eclipse with the Moon being completely blacked out, surrounded by a corona, just as if something had moved between Earth and Moon. However a real lunar eclipse doesn't appear to be pitch black but as a dark reddish layer and there certainly isn't a corona which is a feature of the sun. See more »
This is a film about witches, ancient alchemy, and death. The atmosphere is Gothic and medieval. But the setting is modern. Most scenes take place in small, stylish interior spaces. For lighting, Argento uses the glow from indirect sources (mostly blue, red, and orange hues), and alternates this with darkness. In combination with the lighting, the film's sound effects, which alternate with silence, are appropriately spooky. And Keith Emerson's soundtrack, with all that organ music, contributes to the Gothic tone. One of the best parts of the entire film is the rock-opera opus from the chorus at the film's end, with that great beat, and lyrics that are indecipherable.
The nightmarish atmosphere, while maybe not quite as stunning as in "Suspiria", is more than adequate to induce suspense, anticipation, and a sense of danger. From out of the darkness and stillness comes "death", in all its horrific cruelty. As a "horror" film, "Inferno" is fairly pure, in that the plot is more or less self-contained. There are only brief references to the "real" world, outside the confines of the story.
The film's plot is indeed thin, and functions really as an excuse for the actors to move from one atmospheric set to the next. The script does not require great acting skills, mercifully, since great acting is nowhere to be found.
Of the various Argento films I have seen, "Inferno" is perhaps my least favorite. It does not have the conviction of Argento's other works. It seems more like a half-hearted sequel, an afterthought, to "Suspiria". Like most sequels, I find it less satisfying than the original, the soundtrack notwithstanding. Still, for Argento fans, "Inferno" is a must-see, if for no other reason than for purposes of comparison.
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