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Mother Of Tears [2007]

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As a long-awaited coda to Argento's "Three Mothers" trilogy, [it] may not be exactly what was expected, but it is perfectly satisfying resolution. Things that are more immediately offensive than her: the groan-worthy ending, the cheap and utterly bland setting and aesthetic, and its complete inability to generate any sort of tension or suspense or atmosphere or honestly ANYTHING that would make this worth watching. Written by Argento, Jace Anderson, Walter Fasano, Adam Gierasch and Simona Simonetti, the film is the concluding installment of Argento's supernatural horror trilogy The Three Mothers, preceded by Suspiria (1977) and Inferno (1980).

Argento has noted that he is dismissive of critical reaction, saying that "the critics don't understand very well. The aged witch attempts to use her magic to kill the girl, but her powers — including those of invisibility, illusion casting, and telekinesis — prove insufficient due to her feeble state.Yes, it is bizarre, but also drawn out, poorly acted for an English audience, short on action, with only three main death scenes, and has an attractive but simple and very repetitious music score similar to the John Carpenter style. The acting in none of the films has been a strong point so criticisms here seem out of place, but at least it was comforting to hear decent English spoken by the male lead. Since the 70's Argento's very personal and unique view of the thriller / horror genre has divided not only horror movie fans but his own fans to, even the critic and fan Alan Jones has voiced his dissatisfaction with Mother of Tears. To be fair, if you were compiling a list of Mother of Tears' many failures, she wouldn't be too high up.

Much of which can be seen in some of his other later works such as Jennifer, Pelts, or even The Stendhal Syndrome. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice.According to reporter Alan Jones the audiences' reaction was mixed: the acting quality varied and the script contained too much exposition, but the cinematography was beautiful. It’s a refreshingly rebellious “middle finger to the censors” kind of film, in a way which you just don’t really see these days. Markos, a Greek émigré, was exiled from many European countries and had written several books on a variety of arcane subjects. Sarah, having healed Enzo's wounds, uses a spear to pull the cloak off Mater Lachrymarum and tosses it into a nearby fire.

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