Like a steady hand holding a straight razor, Argento cuts through the story with clean swipes. Dark Glasses has little room for twists and turns; it holds nothing up its sleeve and asks little more of the viewer than to sit still and enjoy the ride.
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Together with the firm confidence of its execution, perhaps it is this sincerity that marks Dark Glasses as a touching late work from a master.
The film unpacks few surprises, although Argentophiles may applaud a ludicrous and copiously gory climax.
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.
While it wouldn’t exactly be accurate to say that Dark Glasses was worth waiting a decade for, a world in which Argento continues working till the bitter end is preferable to one in which we don’t have movies like this at all.
Dario Argento’s return to directing after a 10-year absence has its moments of macabre and melodramatic invention.
Yes, Dario Argento’s first film in ten years is pretty fun, for a while—and no, not near his best.
Dark Glasses is mainly just flat, but it could definitely have done without this all-round disgrace of a dog performance – quite enough to have Uggy from The Artist shielding his peepers with a front paw.