An interesting and about 50% successful attempt to depict the tragedy of dementia in later life through the lens of a horror film, with first-time feature director Natalie Erika James showing solid dramatic chops that indicate some good things to come. The strongest aspect is the central idea of three generations of women in a family at very different life stages coping with the threat, an idea that's used far more skillfully here than the identical set up in 2018's…
This mostly generic Italian cash-in on the mondo craze is elevated considerably by the narration supplied by Boris Karloff, who classes things up a bit while talking about random insanity around the world (but mostly in Italy). Apart from a bit of obligatory animal violence stock footage, it's all pretty quaint and nothing that would even raise an eyebrow now unless you need to fan yourself at the sight of Japanese underwear bondage modeling.
A raw, screaming art film with a capital A that I deeply enjoyed but would probably never outright recommend to anyone else. Those of us emotionally attached to the Dario Argento film of the same title will have the toughest hill to climb here as Luca Guadagnino doesn't even try to outdo it, veering instead into guilt-ridden, traumatized waters where the only way to survive is either mentally purge your sins or hope someone next to you gets destroyed instead.…
For years people will be debating whether this is a horror film, a dark comedy New England period piece, a twisted Americanization of the Prometheus and Sisyphus myths, and/or a bitterly amusing portrait of male aggression and (terror of) intimacy. Any way you slice it, this is a visually intoxicating and brilliantly acted two hander from Willem Dafoe and Robert Pattinson that manages to surpass Robert Eggers' mostly excellent The Witch (or The VVitch if you wanna be all 7even about it) by sticking the landing all the way to the unforgettable final shot. Easily worth repeated viewings and one of the great macabre nautical nightmares.