Bohemian Rhapsody, despite the negative reviews, is the best biopic I’ve seen since I, Tonya. I’m no Queen historian, but from what I know and what I’ve heard from actual Queen super-fans, it’s a perfect encapsulation of Freddie Mercury’s life.
Critics have said that it glosses over his Indian and Zoroastrian roots and his AIDS death. I honestly have no idea where they’re coming from — did we see the same movie? The influence that his race has on his everyday life and career is shown in sufficient detail — and “sufficient” is enough for this film. Mercury’s life was not a sob story about a young boy of color whose success was hindered by his race; it was a triumphant tale of achieving his dreams despite the barriers.
As for his AIDS, it is shown in detail how it affects him and, in fact, the movie’s closing text discloses the fact that he died of pneumonia-related AIDS in 1991. Bohemian Rhapsody is a beautifully-made, emotional, raw story.
Suspiria is an enchanting homage to every brilliant art-house horror movie ever made. At the same time, it is a refreshing and original film — a breath of fresh air in an atmosphere full of stale clichéd and overdone horror plots. It doesn’t feel like a remake; it feels like a reimagining of the original.
Guadagnino retains some of Argento’s quirks while he weaves his own brilliance into the film. It is a thrilling ride that takes the audience from an Amish reserve in 1940s Ohio to a German dance academy shrouded in mystery in the 1970s. However, the remake does add in quite a lot of new elements, and they don’t fit in very well. They’re an irritating distraction at best. The additions don’t help to further the emotional backstory of the characters at all and only serve to confuse the audience in an already very confusing film.
Nonetheless, Suspiria is a ray of hope for future horror movies and provides an incredible example of just how good a remake can be.