How Robert Downey Jr. Felt Watching Spider-Man's Death In Infinity War

How Robert Downey Jr. Felt Watching Spider-Man's Death In Infinity War

If you’re not a hunk of weeping personhood the moment Peter Parker collapses into Tony Stark’s arms, pleading for his own life in the face of Avengers: Infinity War’s Decimation, you just might be a stone cold professional. The moment is one of the most emotionally taxing events in that film’s mass casualty finale and, for some, it’s still pretty upsetting. Of course, for Robert Downey Jr., being one of those lovable stone cold professionals, it’s a scene that didn’t really hit him until he sat down to watch it play out himself.

Robert Downey Jr.’s story of how Spider-Man’s death in Avengers: Infinity War finally hit him, and why it’s so effective in general, is as follows:

It was crazy to shoot it, but it was just another day, and then we were at lunch and doing stuff, because it’s a movie. But then I think seeing it -- and I happened to see it with this amazing Scottish kid who couldn't go to a theater -- so I saw it with him, and his reaction really effed me up. So I think what a lot of us are looking forward to is, like Kevin [Feige] always says, it's that surprise and delight experience with Endgame. It's one of those things where you go, 'Wow, I think we just made a pretty serious choice.’ But I think audiences like that. I think audiences are so smart and now so... they require to not be fed the same drivel as even twenty minutes ago. We need novelty and I think what the Russos and Kevin have been able to do is provide that in spades.

CinemaBlend was on hand to hear this story at the Avengers: Endgame press conference, as our own Eric Eisenberg was in attendance. And what Robert Downey Jr. said doesn’t sound all that weird -- as in the moment of filming Avengers: Infinity War’s big emotional moment, it’s still kind of easy to get wrapped up in the fact that there’s several takes to be filmed, so it’s easier to come back from that emotional investment.

Of course, with an audience that doesn’t know what’s coming, as well as within the confines of the narrative that Avengers: Infinity War put forth, it’s a completely different context. Despite the fact that pretty much everyone that’s picked up a comic book knows that Spider-Man won’t be dead for long, seeing Tom Holland and Robert Downey Jr. really sell the moment jumps right over that logical hurdle and lands straight into the hearts of anyone watching.

The fact that this particular scene landed how it did with the Iron Man actor looks to have informed his performance in Avengers: Endgame, as the recent footage showing the moment where Tony reflects on Peter’s departure suggests that very possibility. Though if some of the theories that have come out in the past couple of rounds of speculation pan out, we just might find ourselves knocked out by Tony Stark’s fate in the long run.

Everything and nothing feels like a surprise in the Marvel Cinematic Universe, as the choices made by the Russo Brothers and Kevin Feige fit into the Avengers storyline, while also throwing audiences for a loop. But when you can draw a reaction out of an actor like Robert Downey Jr. while watching those big choices unfold in a film like Avengers: Infinity War, you know you’ve done your job well.

Avengers: Endgame puts the Infinity Saga to bed, and probably revives Spider-Man in time for his sequel, on April 26th. Meanwhile, Spider-Man: Far From Home takes off for adventure on July 5th. Should you want to see what else is in the works in the MCU, and whatever their release dates may be in the future, keep our Upcoming Marvel Movies guide in your bookmarks for further reference.

T2 Trainspotting Actor Bradley Welsh Is Dead At 42, And Now There’s An Investigation

T2 Trainspotting Actor Bradley Welsh Is Dead At 42, And Now There’s An Investigation

Bradley Welsh, an actor, trainer and former boxer most known internationally for his work in T2 Trainspotting, has died at 42. Welsh was allegedly found by an Edinburgh emergency services division after allegedly being shot on April 17th. The actor later died of his injuries and an investigation is underway.

Reports on the scene indicate that Bradley Welsh had been shot (possibly in the head) following some sort of incident on Chester Street in Edinburgh Scotland at about 8 p.m. on Wednesday. Police have not confirmed his death came from a shooting, but other outlets are also reporting it was a shot that killed the actor and boxer. Armed police were allegedly on the scene for hours after Welsh's death.

According to police in Edinburgh, the death is being treated as suspicious and an investigation is underway. The direct comment given on Facebook was as follows:

His death is being treated as suspicious and inquiries are continuing. Officers will continue to provide a high-visibility presence in the area to engage with the public, offer reassurance and gather information that can assist with this investigation.

Anyone who believes they have any relevant information should contact police immediately.

So details are still scarce regarding what series of events led to Welsh’s untimely passing.

In T2 Trainspotting, Welsh had played a character named Doyle, a businessman owning a rival brothel who catches wind of a scheme coming from the main characters’ and bullies them into walking home from the country to Edinburgh in the buff. T2 Trainspotting also starred Ewan McGregor, Ewen Bremner and Jonny Lee Miller.

Trainspotting writer Irvine Welsh has already responded about Bradley Welsh’s death, sending his condolences to his friend.

Bradley and Irvine Welsh are not related.

The boxer also owned a gym, Holyrood Boxing Gym, and per Variety was involved in charities that helped keep kids from getting into trouble on the streets. Welsh was also once the champion of the Amateur Boxing Association of England.

He’s a fairly well-known figure in his area, and many have commented on social media about Bradley Welsh’s passing.

We’ll update as more details come to light, but in the meantime, our thoughts go out to Welsh’s family and friends at this time.

Netflix Has Postponed Its Felicity Huffman Film After Actress Admits Guilt In College Scandal

Netflix Has Postponed Its Felicity Huffman Film After Actress Admits Guilt In College Scandal

Following her decision Monday to plead guilty, Desperate Housewives actress Felicity Huffman will now face charges for committing fraud among other parents accused for bribing distinguished universities to admit their kids in the largest U.S. college admissions scandal taken to court. Additionally, Netflix has now decided to pull Huffman’s upcoming movie, Otherhood, from release.

Otherhood was originally set to premiere on the streaming platform in just a couple weeks, on April 26. Following the college scandal, the site has decided to delay the movie's release, perhaps due to the timing of the intended release. However, no plans for a later release date have been announced. Otherhood also stars Patricia Arquette and Angela Bassett, and is centered on three suburban mothers who travel to New York City together to visit their sons.

Felicity Huffman is potentially facing up to 20 years in prison and a fine of $20,000 after being accused of paying $15,000 to a fake charity that allowed her to have an impersonator sit in and cheat on the SAT’s for her oldest daughter, wrongfully qualifying her for the university, per The Guardian. Huffman recently released a statement detailing that her daughter was unaware of her dealings and showed remorse for her actions. In her words:

I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions… My daughter knew absolutely nothing about my actions, and in my misguided and profoundly wrong way, I have betrayed her. This transgression toward her and the public I will carry for the rest of my life. My desire to help my daughter is no excuse to break the law or engage in dishonesty.

Huffman is one of 50 people charged in the scam and one of 13 who have decided to plead guilty on the charges. Her husband, William H. Macy, has not been charged of the crimes. Full House actress Lori Loughlin and her designer husband Mossimo Giannulli are also under fire in this scandal, though their allegations point to up to $500,000 being paid to have their daughters enrolled into USC.

Netflix has also taken action against Lori Loughlin in light of the scandal, as it recently dropped her from the final season of its show Fuller House. Unlike Otherhood, Fuller House has not yet begun filming, but Loughlin could be busy serving out a prison sentence, depending on what the court decides.

The actress was also dropped from her contract with the Hallmark Channel, where she has starred as Abigail Stanton in What Calls The Heart since 2014, along with numerous TV movies. The television show has recently announced the show will still go on even without Lori Loughlin, though changes are currently being made the scripts.

Following these moves by Netflix, one has to wonder what will come of Felicity Huffman’s other projects on the way: a Netflix miniseries called When They See Us from Ava DuVernay which is set for release on May 31 (though Huffman seems to have a supporting role in the project), and her other film, Tammy’s Always Dying. Perhaps the streaming service has decided to postpose Otherhood due to timing of Huffman's name in the headlines and will still decide to release her titles with them.

How The Aladdin Live Action, Animated And Broadway Versions Compare To Each Other

How The Aladdin Live Action, Animated And Broadway Versions Compare To Each Other

The following contains some minor SPOILERS for the new remake of Aladdin**.**

Aladdin was a smash hit when it was released by Disney in 1992. It contained one of the greatest animated voice performances ever by Robin Williams, it had an incredible collection of memorable songs and it had a story that combined great action, comedy and romance. It's no wonder that Aladdin is now getting the live-action remake treatment from Disney in the same way that other successful Disney films have.

Of course, the new theatrical remake isn't actually the first time the story of Aladdin has been re-told. After Robin Williams, but before Will Smith, Aladdin was adopted for the Broadway stage. How do these three different versions of Aladdin compare to each other, and which is the best version of Aladdin? Let's break them all down and find out.

The Similarities

The Story: First and foremost, the main thing that ties the three versions of Aladdin together is the story. If you've seen one version of Aladdin, then you basically know where the story is going when you sit down to watch another version. Aladdin is a homeless thief. He meets a disguised Jasmine in the marketplace and falls for her. He is tricked by Jafar to go after the magic lamp. Aladdin frees the Genie and becomes a prince... etc... etc...

The characters: The majority of the characters are basically the same. Aladdin is still the dreamer who wishes for more in his life. Jasmine still wants to be free to make her own decisions. The Sultan is mostly clueless, and Jafar is just cartoonishly evil, even in the versions that aren't actually cartoons.

The music: You'll also find that most of the music is the same, while both the stage and live action film version have additional music that has been added, they also contain all of the songs from the original animated film soundtrack, if not every version of those songs.

What makes these iterations of Aladdin stand out, however, is what they do differently.

The Differences

The story: While the general structure of the plot is essentially identical across the three versions, there are a few nuanced differences. The animated film and the new live-action one create a framing device which sets up the idea of a character telling us the story of Aladdin. The Broadway show just gives us a basic introduction by the Genie which is implied to be non-diegetic.

While both the animated film and the Broadway show have two major marketplace scenes, the "One Jump Ahead" song and the meeting with Jasmine, the new live action movie combines these into one. Also, in the new movie, instead of being imprisoned after being discovered with the princess, Aladdin breaks into the palace to see Jasmine again and gets nabbed then.

In the animated film, Jafar convinces Aladdin to help him while in disguise, which means he doesn't know Jafar is dangerous when he meets the real vizier later on. In both the Broadway play and the new film, Aladdin knows he's working for Jafar the whole time, which puts him (somewhat) on guard later.

The live-action film also contains a significant new scene where Aladdin, in his Prince Ali disguise, tries to woo Jasmine at a party, which helps build the relationship of the two.

While both animated and live-action films have Aladdin using his second wish to avoid drowning. On Broadway, Aladdin is simply thrown in prison but he uses his wish to get free.

The finale of the three stories is also significantly different. On Broadway, Jafar never wishes to make himself a powerful sorcerer (probably because it would have made the show really expensive). Instead, he wishes to make Jasmine his prisoner and to become Sultan.

In the animated film, Aladdin ends up doing battle with Jafar, who has magically transformed himself into a giant snake. In the live-action film, our big action finale is a chase scene as Aladdin and Jasmine try to keep the lamp out of Jafar's hands while they're being chased by a magically-enlarged Iago.

The characters: The biggest character changes take place between the animated Aladdin and the Broadway version. While many Disney musicals have used intricate puppets to recreate the parts of animated movies that are difficult to realize on stage, Aladdin avoids this problem by eliminating and changing those characters.

Aladdin's pet monkey Abu doesn't make the jump to the stage. Instead, Aladdin has three friends, named Babkak, Omar and Kassim, that he pals around with who are in similar financial and living situations as he is.

Rajah the tiger also doesn't appear on stage. In his place, Jasmine has three handmaiden characters that she give her somebody to play off of.

Jafar's pet Iago does slightly better. The character exists, but rather than being a parrot, Iago is a man. He's just a basic henchman.

The new live-action film uses the realistic CGI that Disney has had such success with to bring Abu and Rajah back. Iago is also a parrot again, though while he does speak, he sounds more like the way a parrot would naturally speak, rather than speaking fully coherent English as he does in the animated film.

Jasmine does, however, still have a single handmaiden character in the new film. The character of Dahlia is much more involved in the story than any of the similar characters from Broadway.

Jasmine herself sees the most interesting evolution across the three versions. She's mostly a bystander character in the animated movie. Her desire for freedom and to make her own choices are given more time to breathe on Broadway. It's actually the new movie where the character is fully realized as a much more independent woman.

Jafar is largely identical on Broadway and the animated film. The live-action movie gives the character a little bit of backstory and motivation not present in the other two iterations. He only attempts to actually marry Jasmine in the animated version.

The biggest, and likely most important character change, however, is, of course, the Genie. The animated film gave us a manic Robin Williams. The character makes a host of modern pop culture references and breaks into one impression after another. Will Smith's Genie in the new Aladdin is essentially, The Fresh Prince of Agrabah, the actor/rapper's own persona amplified.

While the Robin Williams and Will Smith Genie's are obviously different in execution, they're largely the same in result. On Broadway, however, the Genie is quite different. This one is never blue in color. He actually tends to look a lot like Will Smith's Genie when he's disguised as human, one way the Broadway show likely influenced the new movie.

The Broadway Genie's humor is also less pop culture focused. Of course, what modern jokes there are have the potential to change as the stage show is continuously performed, similarly to the way the Aladdin stage show at Disney's California Adventure was handled, if you've ever seen that. You can get a taste of what the stage Genie is like in the clip below.

The music: Using the animated original as our baseline, all the music from that movie makes the jump to Broadway essentially unchanged. Several new songs are also added. "Proud of Your Boy" is actually a song originally written for the animated film that was cut, which has Aladdin singing to his dead mother about his desire to make her proud, a motivation missing from the other versions. Aladdin's friends have a pair of songs they sing with Aladdin. One precedes Aladdin meeting Jasmine, the other as part of Aladdin getting himself free of the dungeon.

Jafar gets his own full song "Diamond in the Rough" on Broadway. In the live-action film, Jafar's reprise of the "Prince Ali" song gets cut, so the villain never gets a chance to sing at all.

On Broadway, Jasmine sings about her desire to be free with her handmaidens in the song "These Palace Walls." In the new live-action movie Jasmine sings "Speechless" about her desire to be able to speak her mind.

The Quality

Animated Aladdin: It's difficult to say much against the original version of the story. By virtue of being the first, it's the one that is the most creative since it started with nothing. The music is great and Robin Williams just is that great. If there's a downside to the performance, it's that some of the pop culture references probably don't work as well today as they did in 1992. Does anybody remember who Arsenio Hall was?

Broadway Aladdin: The Broadway version is a tough one to judge because the show evolves over time. The show you see in one town isn't necessarily the same you get a year later in another place. Having said that, none of the additional music from Broadway is going to replace anything from the original soundtrack as your favorite song. Some of the show's action, like chase scenes, suffer due to the limited space of the stage, and the finale is incredibly rushed. At the same time, the Genie is having a lot of fun on that stage, and that fun can be incredibly infectious.

Live action Aladdin: Will Smith does a good job making the role of the Genie his own, though the CGI on him isn't perfect. All of the classic music is given a bit of an update, so while they're still songs you know, they're not identical, meaning you may want to actually listen to them now and then. The one new song, "Speechless," is a valiant attempt at a strong anthem for Jasmine, but the song itself feels shoehorned in. Jasmine as a character, however, is at her best in this version.

So Which Is Best?

Each of the three versions have unique things about them which make them each worth seeing, but in the end, both Broadway and the new live-action movie are just trying to reinvent the wheel. Both Broadway and the live-action film basically rely on your love of the original. The nostalgia is a necessary element of both, which the original never needed.

You can judge the live action Aladdin movie for yourself once it hits theaters this Friday, May 24.

6 Great Reasons Marvel Should Bring Back The One Shots

6 Great Reasons Marvel Should Bring Back The One Shots

There was an idea that Marvel Studios could maintain its Marvel Cinematic Universe with a series of MCU shorts that could tell stories that the movies never could. At least, not at the times they were released. They were called Marvel One Shots: shorts exclusively created for the home video release of each Marvel film from 2011 until 2014, and dedicated to taking the still fledgling franchise everywhere it could go, without having to spend a feature length budget each trip.

Before Team Darryl from Thor: Ragnarok, it had been a while since we’d seen anything close to being known as a One Shot. And even then, the comedic short explaining Thor’s absence from Captain America: Civil War wasn’t technically branded as a One Shot. But it does embody the spirit of the One Shot, and its success helps remind us of just why they should exist.

As we approach Avengers: Endgame, the long-awaited finale of the Infinity Saga, here are six reasons why Marvel Studios should go back to the practice of doling out One Shots with each home video release.

It Could Help Set Up Crucial Characters And Plot Points For Phase Four

Avengers: Endgame is about to wrap up eleven years of storytelling that make up the first arc of the Marvel Cinematic Universe. While there’s definitely a plan in play for Phase Four to introduce new franchises like The Eternals and Shang Chi in the near future, as well as handing off the leadership reins to Captain Marvel, that’s only just the beginning.

If Phase Four is going to be more diverse -- and more ambitious -- than the first three phases, it’s going to need a lot of new and exciting content to do so. Which means, the One Shots could very easily help do a little of the heavy lifting by supplementing characters and plot points that start in mid or end credit sequences, and bridge into new films.

Imagine if Kamala Khan’s Ms. Marvel finally had an opportunity to show up, without the need of a TV series or a full film. That short could lay the groundwork for her character, and keep her in play until she’s used in either capacity. Meanwhile, she’d finally be onscreen, ready to return at a moment’s notice in a natural context.

They’re A Great Way To Tell Additional Stories Outside Of The Films

As we saw with the One Shot All Hail The King, the continuation of the story involving Trevor Slattery and his guise as The Mandarin in Iron Man 3 was eventually used to twist the character in another way. Were Marvel to pursue the eventual fallout of this short, with Slattery being brought to meet the actual Mandarin, there would be a potential to tell an entire story in One Shots.

What if the “true” Mandarin’s story was a serialized happening, scattered throughout home video releases of Marvel Studios titles? Instead of just being a juicy tease for a massive retcon of Iron Man 3, it could be an entire story that adapts the character closer to the comics.

Or, say the idea of telling the stories of jailed villains caught on? You don’t need a full Iron Man movie to tell that story, or at least not to start off. You could bring back Justin Hammer, or the Vulture, or even Colonel Zemo for one short and round off their stories in captivity. Of course, were they popular enough, there would always be the chance to expand further.

One Shots Help Test The Popularity Of Potential Concepts And Characters

Peggy Carter of the Captain America series is the best example of how testing the popularity of a character before launching them into greater things can work perfectly in the One Shot laboratory. While she was pretty beloved in Captain America: The First Avenger, as well as her guest appearances on Marvel’s Agents of S.H.I.E.L.D., her One Shot short Agent Carter provided the best piggyback for her character to jump into her own TV series.

Again, the foundation was laid out in a short that, at the very least, would have stoked fan support for the character. But at the most, you find the people that really get the fans riled up and ready to come back to the fold, which indicates that it’s a good time to jump back into TV and Movies with said character.

The Marvel Comics universe is so vast that no one is a guaranteed hit, so using One Shots as the test kitchen to cook up further adventures of side characters that are primed for a spinoff makes a lot of sense. If Inhumans had been a One Shot rather than an expensive theatrical event/season of TV, Marvel’s approach to the material, as well as the viability of the property itself, could have been tested in a less costly manner.

The Shorts Are A Nice Extra To Tide Fans Over Between Films

While Marvel Studios seems pretty set with its three-films-a-year layout, they tend to be front-loaded into the earlier part of the year. In 2019, March, April, and July all see the release of an entry into the MCU, leaving the rest of the year untouched except for home video releases.

Should those three films have additional One Shot content on each of those shelf loving physical copies, fans would have at least three more times to get excited about a new gem of information or a new character to fall in love with. It would basically be giving fans extra content in the off season.

Why should the comic movie fan be content with merely switching to another comic company’s films, when Marvel can keep its name in everyone’s minds with fresh supplies of events and characters? And what about the die hards who don’t even touch the competition? Those true believers deserve something extra for this devotion, in my opinion. Besides, it’s not like there’s a shortage of ideas in the One Shot canon.

There Are Already Unused One Shot Scripts That Can Be Made

It has been mentioned on multiple occasions that there were One Shot scripts that simply never got made, post 2014’s All Hail The King. Producer Kevin Feige, and even Marvel creative player Drew Pearce both talked about ideas that were laid out, but never executed for different reasons.

However, with Disney having more clout and position in the entertainment world to call its own shots, some reasons such as budget and effort could theoretically be overcome quite easily. While this isn’t a reason to advocate spending an obscene amount of money on a young Loki or Nick Fury short, it’s also a call to move past such limitations.

Should Marvel spend more money on the studio’s One Shot projects, that would mean that home video might not be the best or only home that those shorts should inhabit. If only there were a streaming platform that Disney owned, that could use such content to entice subscribers.

One Shots Past And Future Could Be Great Disney+ Exclusives

Perhaps the greatest reason that Disney and Marvel should resurrect the One Shot initiative is, quite simply, that Disney+ needs content. While the What If animated series, as well as plenty other spin-offs of popular characters are coming to the platform, there’s so much more potential here.

This new streaming home could take all of the lessons learned above, and turn them into gold. With Loki already getting a spin-off series, the problem of cost involving any Asgardian shorts is solved. Just use the assets already provided with that series.

Think Agent Carter is worth another spin? Make a short that shows us what Season 3 would have looked like, and see where the public lands! Having merely the test shorts of such concepts on Disney+ would be enough to start winning those hungry for more Marvel, all the time. And if Chris Hemsworth wants a TV show between Thor and his human roommate Darryl, you can practically chalk that success up to the unofficial success of the One Shots that was Team Darryl!

There is a tremendous opportunity to expand the depth and scope of the Marvel Cinematic Universe through the redeployment of the One Shots. All that has to happen is for the studio to see the possibilities, and make them happen in reality. For now, we may have to content ourselves with other longform streaming projects.

Which means it’s time for you True Believers, you Marvelous Mavens, to take a poll below and let your voices be heard. Do you want more One Shots, or do you think their day has come and gone? Vote and decide, and don’t forget to explain your choice in the comments below.

In the meantime, Avengers: Endgame will be upon us in early showings on April 25th, so there’s still time to cram a very specific MCU catch up session into your schedule.

Rumor: Lady Gaga Allegedly Loved Her Star Is Born Role So Much She's Having Trouble Letting Go

Rumor: Lady Gaga Allegedly Loved Her Star Is Born Role So Much She's Having Trouble Letting Go

It was a whirlwind Awards Season, as 2018's top movies competed for various accolades from the filmmaking community. One of the projects that picked up a ton of nominations was Bradley Cooper's directorial debut, A Star Is Born. The musical drama was a massive success, earning money at the box office, topping the music charts, and earning a whopping eight Academy Award nominations-- even earning one. It was also a breakthrough for Lady Gaga, who became a bonafide leading lady.

Lady Gaga got a ton of positive attention and nominations for playing unknown singer Ally, and it should be fascinating to see how her acting career continues on. But a new rumor indicates she's having a hard time letting go of Ally Maine, after living as the character during filming and press for A Star Is Born. This report indicates the singer/actress is still a well of emotion, and is therefore struggling to leave her Oscar nominated role behind her.

This rumor comes via Us Magazine, which also reported on the "insane chemistry" that Lady Gaga and Bradley Cooper share on the screen and stage. While that connection is no doubt what helped bring Jackson and Ally's love story to life in A Star Is Born, it also fueled the fire of the rumor mills. And that fire got considerably larger after the duo performed the film's anthem "Shallow" during the Oscars.

Bradley Cooper and Lady Gaga walked from the audience directly onto the Academy Awards stage, and belted out "Shallow" for the audience, breaking the internet in the process. The chemistry between the two was palpable, and it even looked like they might kiss when sharing a microphone. Rumors began swirling about the two's personal lives, although Gaga put the to rest on a Jimmy Kimmel Live! appearance.

Lady Gaga appeared on Kimmel, complete with the Oscar she won for Best Original Song. When discussing her Oscars duet with Bradley Cooper and the rumors that followed, Gaga said:

Social media, quite frankly, is the toilet of the internet. And what it has done to pop culture is just abysmal. Yes, people saw love and guess what? That’s what we wanted you to see. This is a love song, 'Shallow'. A Star Is Born is a love story.

That seemed to put the story to bed, or at least it was Lady Gaga's attempt to do so. Because now more rumors are circulating about Gaga and her A Star Is Born director/co-star. And once again, it relates to the chemistry shared between the two professionals. While Bradley Cooper has had a long acting career, it's still the early stages for Gaga. As such, the reports indicate that she's having a harder time letting go of Ally, after spending so much time with her. And that includes the character's love for her fictional husband Jackson.

A Star Is Born is available for home purchase now. Be sure to check out our 2019 release list to plan your next trip to the movies.

Original Suspiria Writer Is Not In Love With The Remake

Original Suspiria Writer Is Not In Love With The Remake

Dario Argento created a memorable monster when he committed Suspiria to the screen in 1977. As the writer/director of the famed horror film, you can imagine how attached he is to one of the film’s that he’s best known for creating. With that in mind, one would assume that the 2018 remake from director Luca Guadagnino would get under his skin more than a little bit.

But as it turns out, the reason Argento is upset with the remake is for artistic reasons than incendiary ones, as he called the film out for specific behaviors. In particular, he had the following critiques:

To me, the remake of Suspiria doesn’t look like a well-realized project. It lacks fear, music, tension, and scenic creativity. Films like Get Out and Hereditary have struck me for their beautiful photography, their plot, and their production.

Now while that isn’t a sick burn in the measures of our times, Dario Argento’s criticism of the new version of Suspiria definitely strikes hard. Rather than being just a couple of colorful remarks of displeasure that could have easily been fun and personally rewarding, Argento has actual artistic claims to make on 2018’s well-received and certainly WTF redo.

In particular, the criticism of Suspiria 2018 lacking the most vital components to both a horror film, as well as any film in general, is a dressing down that‘s devastating, while carrying significant weight. Though it’s certainly something that can be disputed, as again, the public response to Luca Guadagnino’s version was quite favorable. With a 66% on Rotten Tomatoes when all was said and done, much of the critical community seemed to enjoy the fresh, modern take on Dario Argento’s storied classic.

Even our own Eric Eisenberg, upon seeing Suspiria’s remake for himself, had the following raves to offer:

Dario Argento's original will forever be recognized for its breathtaking cinematography and insanely bold use of color, and while Luca Guadagnino's Suspiria molds its own aesthetic, it's no less jaw-dropping. And this is true within the film's many different modes. Simply moving through the dark halls and vast spaces of the academy is a haunting experience; while the cinematography and choreography for the dance sequences are exquisite and elegant while also fierce and violent.

But alas, Dario Argento wasn’t taken with 2018's Suspiria, and that’s just the way it is. Rather than just blindly rubber stamp or trample the film into the ground though, he had valid concerns that he voiced in his conversation with Interview Magazine. Agree or disagree, no matter what the MPAA has to say on the matter, it’s a solid thought.

Of course, you can compare and contrast for yourself, as the 1977 version of Susperia is available on home video in a brand new 4K restoration, and can also be streamed on Tubi. As for the 2018 version, you can catch it now on home video and on Amazon Prime’s streaming catalog as of May 3.