There are set pieces scattered throughout “Dark Eyes” that are as strange — and as strangely beautiful — as the best of Argento...

| Oct 14, 2022

Dark Glasses is a satisfying return to form for the director, this nifty little retro Giallo slasher a tasty October treat worth savoring.

| Original Score: 3/4 | Oct 14, 2022

While it’s easy to dismiss “Dark Glasses” as the work of a master gone soft, Pastorelli’s prickly, sharp-tongued Diana is perhaps the most charismatic leading lady of Argento’s career. She dominates her surroundings — a rarity in his films

| Original Score: C | Oct 13, 2022

It’s neither successfully terrifying, nor shockingly grotesque, or even campy enough for one to revel in over-the-top derangement. And while it’s not entirely without its silly pleasures, indifference is the foremost sentiment it elicits.

| Oct 8, 2022

Dark Glasses proves to be little more than a tired rehash of Argento’s hits from his heyday strung together by a screenplay (reportedly written two decades ago) that is nonsensical even by his admittedly loopy past standards.

| Original Score: 1.5/4 | Oct 7, 2022

After a brilliantly constructed opening, Dario Argento’s film gives the impression only of a giallo doodle.

| Original Score: 1.5/4 | Feb 22, 2022

A spiky little giallo that wants nothing more than to be labeled a return-to-form. If it falls ever-so-short, you’ve got to give it points for trying.

| Original Score: B- | Feb 14, 2022

The Italian horror maestro Dario Argento is an old dog (at 81) without too much interest in learning new tricks – certainly if his latest is anything to go by.

| Original Score: 2/5 | Feb 11, 2022

The blood is still profondo rosso, but otherwise Dark Glasses is a strictly anaemic affair from Dario Argento, the godfather of Italian giallo horror.

| Feb 11, 2022

Only those immune to the puerile charm of attack dogs, eclipses and water snakes will fail to enjoy “Dark Glasses” even a little.

| Feb 11, 2022

Dark Glasses is never all that scary, and some of it is just plain silly, but if you take it at face value it can be enjoyable enough to sit through — more of a reminder of what Argento used to do best than an example in its own right.

| Feb 11, 2022

A lot of the time it is bizarre in the wrong ways...

| Original Score: 2/5 | Feb 11, 2022

Despite centering on a female character, this feels out of step with the contemporary mood. From the visual style to Arnaud Rebotini’s electronic score, most of it just reminds you how much better Argento was in the old days.

| Feb 11, 2022