I always find INFERNO something of a letdown if I watch it hot on the heels of SUSPIRIA. Don't get me wrong, it's a great film, and it has individual moments of utterly mesmerising brilliance, but taken as a whole, it feels less cohesive, less successful, less defined by a single consistent vision.

Part of this is down to the film's structure. While SUSPIRIA was Suzy Banyon's story through and through, INFERNO is much more episodic, constantly flitting between different…

This actually held up better than I thought it would, though the flaws are exactly what I remembered and was expecting. It starts off well, with two expertly staged murder set-pieces (three, really, though the death of the prostitute's friend is really an extension of the same set-piece that claims the life of the prostitute herself) and some outstanding music by the reformed Goblin. After that, though, the law of diminishing returns kicks in and the film becomes steadily less…

I should be annoyed by this film's stubborn refusal to make a lick of sense, but I'm not. Not one bit. Over a decade after I first saw it, MULHOLLAND DRIVE remains as sumptuous and mesmerising an experience as ever. I'm almost inclined to suggest that to try to decode it and impose rational logic on it is to miss the point - better to just let the sounds and images wash over you and experience it as Diane (the…