Inferno (1980) - Horror

Hohum Score

84

Boring

An American college student in Rome and his sister in New York investigate a series of killings in both locations where their resident addresses are the domain of two covens of witches.

IMDB: 6.6
Director: Dario Argento
Stars: Leigh McCloskey, Irene Miracle
Length: 106 Minutes
PG Rating: R
Reviews: 32 out of 135 found boring (23.7%)

One-line Reviews (99)

The movie itself doesn't have very complicated storyline, in fact if this movie was done today, it'd be a cliché.

Keith Emerson also lends a hand with his dramatic and stunning music score.

But overall, Emerson does a fine job on this movie, creating a nice alternative to the more intense Goblin score from Suspiria.

It literally has no plot, and about ninety-five percent of the film involves people walking about rooms looking for stuff.

Despite my admiration for the work done the somewhat unsatisfying finale as well as a slight overload of pointless deaths does not allow me to warrant a higher grading.

The acting is stiff as a bored (as usual), and the soundtrack is not good (probably due to the fact that Argento used Keith Emerson instead of his houseband, Goblin).

Argento's follow-up to SUSPIRIA is poorly acted by the leads and often confusing and senseless.

There is essentially no plot, and the characters actions make very little sense throughout the movie.

The same cannot be said of the plot sadly; I found it all far too predictable although there was one moment that did make me jump.

As usual for Argento, the film is visually stunning.

Trying to understand it or unravel the mystery is as pointless as trying to pick a plot out of your most upsetting dreams.

Inferno is Argento's most understated and most visually stunning film to date.

The theme is wonderfully hypnotic and then becomes a more powerful riveting piece.

The second installment in Italian horror/giallo director Dario Argento's "Three Mothers" trilogy, 'Inferno' was always going to have to go the extra mile to top the stunning, hallucinogenic nightmare of 'Suspiria' (1977); unfortunately, despite a few nice eerie dreamscape set-pieces, these set-pieces don't really gel together and, in conjunction with the poor acting and nonsensical script, barely comes close.

However, as good a set-up as this sounds the characters receive no attention, the plot ambles along for a bit before going nowhere, and (to top it off) the acting is poor.

To see the mother come through the mirror is breathtaking in the last scene as she appears as the horrible specter.

This is the beginning of "Inferno", one of my favorite Dario Argento's movies, with an intriguing and frightening story and great atmosphere.

The story is convolutely under-written (with a flawed script), but the surrealistic slow grinding manner adds to the creepy vibe and gripping nature.

but difficult to follow.

The Gothic overture of the location, the magnificent stone columns of the facade and the generally dark, ominous layout itself is wonderfully utilized to make this all the more impressive at setting supernaturally-themed fun within, as those manage to come across as utterly fun and enjoyable even without the setting here.

For most horror-fans in North America, this means: boring.

If you're a fan of Argento this one is worth watching, just don't expect much - stick with some of his other titles.

Unlike the previous film which had a story, Inferno takes a different route by having no story.

Unfortunately, Inferno will be seen by most new viewers as pretty slow.

) At times it almost loses me, but then some sequence (the cats, the rats, the wheelchair guy) drags me back in, and one in particular, the underwater one which involved Mario Bava, is outstanding and worth watching this for.

The role of Mark is so boringly written, he practically had no other choice than play it in such a lifeless, dull manner.

Still, you may find the atmosphere of the film has the unexpected effect of sticking with you for awhile, like the remnants of a dream.

Suspiria, while the dubbing is bad and the soundtrack dreadfully repetitive, it's still thrilling and intense.

I'd also appreciate more the end reveal had it been better executed because it just seems quite silly and unexpected.

Much of the running time is taken up with people blundering through doors and down spooky hallways with no idea where they're going or why, yet it's absolutely riveting and hypnotic throughout.

As in many Argento movies the script is very scant, almost abstract, to some extent non-existent, full of unexplained scenes and eerie, seemingly pointless motifs.

The more one watches the more one becomes immersed in it.

But with the main character being bland and uninteresting and an ending that has already been done in Suspiria its not perfect.

This boring film, I'd rate 3/10

I'd have less of a problem accepting the free-association nightmare logic of the film if Argento didn't feebly try to make it coherent (in the works of David Lynch/Cronenberg, things are far more intriguing the less they're explained).

This film is slow and slow and slower.

All in all I just didn't like this movie at all, just a tedious affair and no near up there with some of Argento's greats such as (Deep Red, The Bird With The Crystal Plummage, Suspiria).

"My name is Varelli, and this is the slow and confusing story of the Three Mothers: one who lives in Germany, one in the States, and one in Italy.

Unfortunately, this character is easily the most boring out of all 3 and the actor seems to literally be sleepwalking through his performance.

Like "SUSPIRIA", Argento uses a lot of the same elements used in that film, the soft neon blues and pinks, blowing curtains, girls running down long empty hallways, etc. In fact, "INFERNO" almost seems like a direct continuation of "SUSPIRIA", save for the fact that Jessica Harper (the heroine in "SUSPIRIA") has nothing to do with this film.

You have to really pay attention to this movie because I noticed that most of Dario Argento's movies are very tricky and confusing, and he makes it hard for you to guess who or what is going on.

Most of the scenes are way too long, boring and not logic at all.

For it too, suffers from being muddled and confusing, though not to the extent of Suspiria.

Every image is a astounding painting, every set-piece absolutely stunning.

Do yourself a favor save your money and you will thank me later

I think 'Inferno' is Argento's most successful attempt to bring a compelling murder mystery with depth and range.

Early on, the ostensible main character focuses on an intense young woman and her cat, who vanish inexplicably and appear to be completely unrelated to anything else in the film.

Kazanian is excellently played by Sascha Pitoeff who had earlier co starred in another complex and confusing flick known as L'Annee Derniere A Marienbad/Last Year at Marienbad(1961).

The problem is, that these days people have become immune to killing and violence, it's more entertaining than terrifying for most people.

The design of the house of the second Mother is fascinating - modern and medieval at the same time.

The lack of plot doen't help and a few times I felt like I was watching a play more than an actual movie with no real ending.

A scene with lots of cats, and another scene with many, many, many rats, have a power to shock because of Argento's use of the camera (lots of close-ups with the cats, mounting tension with the predicament of the character with the rats) leads it into the unexpected.

No plot, nice music.

first of all, the casting of the bland american actor Leigh McCloskey in the lead role was curious choice.

) The most confusing thing about this film I think is the title: "Inferno".

The shots are literally dragged out and, ironically, are a stark contrast to the high-paced electro music that someone decided should be overlaid over such high-octane scenes as 'riding in a taxi' and 'looking at a book.

Both Sara and Rose's deaths and finally Mark's final search for the Mother of Darkness are among the many visually stunning scenes.

The silent scenes in the cellar are absorbing;the library where old books can be found as soon as you entered the place gives goose pimples;Pitoeff's death makes "Willard" (1971) a gentle Mouse House film;the haunted house,in the grand tradition of the Argentesque Non-Euclidean geometry ,does not seem to have a constant surface.

For the screenplay of this "troubled film", (Argento had to direct a number of scenes from a bed due to being very ill,one of the stunning Irene Miracle having to wear a wig due to a serious illness that led to her losing lots of her hair….

This film is a beautiful series of bizarre set pieces, edited together by stunning camera-work.

The opening here is outstanding and one of the better examples of this as what starts as a search for the dropped locket underwater soon turns into a thrilling scenario with the floating corpse mindlessly coming after her as she attempts to get back to the surface, and that the lead-in here shows a singular take of following the water trail into the opening as well as showing the exit from the room being entirely lit in red and blue makes this a wholly spectacular sequence.

Very gory and very alive, very stylish and dark, very suspenseful and very strange...

Characters are bland and you don't really care for anybody except the final guy, which you only do because he looks cool.

well, he doesn't react at all: he goes on a vague search for her, instead of calling the cops or at least showing a smidgen of an emotion, so that we the viewers can at least imagine that he actually cares about his sister or his confusing mission.

What it lacks in plot or story, it makes up in excellent set pieces and nightmarish landscapes.

Keith Emerson's original score is a racy and dramatic arrangement of intense cues, which are well-placed in the scheme of things.

the scene with the cats) set-pieces, whilst the audience are left to either marvel at Argento's bravura use of mise-en-scene or merely to yawn in unison.

At times, one gets the distinct feeling that the creators were either bored, making up as they went along, or both.

Like SUSPIRIA, the storyline is relatively simple (I likened SUSPIRIA to a fairy tale for children, told by an Adult) and- also like SUSPIRIA- INFERNO is an outstanding exercise in pure Visual STYLE: the color palette is simply stunning and the incredibly beautiful architecture (not to mention the sets) only adds to the overall aesthetic.

Well, it's stylish as hell (the underwater sequence was quite good) and some scenes are suspenseful even though I didn't always get them.

The few tenants Mark speaks to are very strange and the hard to follow plot gets even tougher to follow as the movie rolls along.

Throw in some rubbish about a cat-hating antiques dealer (who gets attacked by rats and is killed by a hot-dog seller), an unnecessary appearance from Daria Nicolodi, and a confusing finalé, and you have one of the least satisfying stories that Argento has ever committed to celluloid.

I just found it too slow.

It has also been reported that Jace Anderson and Adam Gierasch, the co-writers of the Argento-infused "Toolbox Murders" (2004) will be doing the screenplay, which is exciting!

Beautifully done but really confusing .

Then, two days later, I was bored and I decided to watch it again.

As it stand now though, it is a boring experience.

The character of Mark Elliot is both bland and uninteresting.

One of the worst movie ever made by the talented Dario Argento .

this is not just empty eye candy, either, it is supernatural horror at it's most intriguing and stylish, and absolute must-own for even the most casual fans of the genre.

In this there was absolutely no plot whatsoever.

A flawed but enjoyable followup to Suspiria .

While "Inferno" is, in my opinion, a bit inferior to these films, it is definitely still a super-creepy, immensely atmospheric, hauntingly beautiful and downright great Horror film that is essential to Horror fans for its creepy atmosphere, visual style, stunning suspense and ingenious score alike.

An excellent early scene in the film is a breathtaking underwater sequence where Rose runs into watery corpses.

One of My Favorite Dario Argento's Movies, With an Intriguing and Frightening Story and Great Atmosphere .

Maybe that was the intention, but it sure is dull to watch.

Though there were scenes that will certainly stick with me, and sets and locations that are absolutely stunning in this movie, I can't say I'd recommend this Argento film to you unless you've seen some of his others, particularly "Deep Red" or "Suspiria".

Dario Argento is a filmmaker whose work is stunning and memorable.

The most visually stunning movie i have ever seen.

The acting is negligible and the music is both operatic and distracting, and while it has its moments here and there (an underwater ballroom scene, in particular, comes close to matching the hypnotic set-pieces of the original), but mostly it's confusing and forgettable.

Ho-hum performances all through out, nothing really stuck out to me.

Though deficient in the Coherent Plot Department--indeed, the story line of "Inferno" just barely makes sense, and then only if we are willing to indulge in some major guesswork--the film yet remains an atmospheric and riveting experience.

One thing that I fail to grasp though, is the fact that many seem to view this film as confusing, which, in my opinion it is not.

This movie was on TV the other night so I decided to waste my time watching it.

If you look past these things, and the fact that the "plot" moves so slow, Inferno is possibly the most beautiful and colorful movie Argento has ever done.

Blue, red and boring .

Defender's of this usually agree that it's plotless but they say it's all about the color scheme, nice colors in the film they are nice the music is cool too but that only takes you so far this movie has no plot.

Now, it may look like an outlandish super-thriller but the plot is confusing too often and, at times, even entirely incomprehensible and utterly uninvolving.

The fanciful qualities of Suspiria are somewhat lacking in this sequel, due as much to the more mundane setting as to Nicolodi's decreased creative input (she does not have a screen writing credit on Inferno.