Happy Goat Horror

Okay, let me just say it: Tenebrae is the ultimate Dario Argento giallo. There, I said it. For me, it’s the crowning jewel in his already iconic career. Sure, Suspiria is the art-house horror darling, and Deep Red is a giallo masterpiece in its own right, but Tenebrae—oh, Tenebrae—this is the film where Argento took everything that made him a legend and turned it up to eleven. If you haven’t seen this film yet, you’re in for a treat that is at once disturbing, dazzling, and so, so satisfying.

The film opens with a brutal murder—classic giallo, right? But it’s not just any murder. This is a savage, carefully orchestrated kill that sets the pace for the entire film. We’re introduced to Peter Neal (played by the ever-cool Anthony Franciosa), an American author who’s in Rome to promote his latest book. And right from the start, the killings in Tenebrae aren’t just shocking—they’re downright methodical. As the bodies start piling up, Peter gets swept into the investigation, and his connection to the murders becomes more and more apparent. It’s a perfect setup, a web of suspicion that keeps you guessing at every turn.

But let’s talk about what really makes Tenebrae stand out—its unapologetic, high-octane energy. This is Argento’s most aggressive film. The tension is constant, the violence is shocking, and the pacing is relentless. From the incredibly choreographed opening sequences to the brilliant use of color, light, and shadow, this is Argento at his peak—his masterful style on full display. The cinematography is just chef’s kiss. The camera moves with purpose, and every frame is meticulously composed, dripping with a sense of dread. Argento has always been a visual genius, but here, he uses the lens to create a palpable sense of unease and excitement. This is a film where every shot is a work of art.

But it’s not just about the kills or the camera work. Tenebrae plays with your expectations and messes with your head in the best possible way. The plot is a twisted puzzle of red herrings, and just when you think you’ve figured it out, Argento flips the script. It’s a slasher film that feels more like a psychological game, a cat-and-mouse chase where everyone is a suspect. And when the twists finally come, they hit hard. Trust me, Tenebrae doesn’t pull any punches when it comes to its climax. The reveal? Genius. Absolutely mind-blowing.

The murders in Tenebrae are beyond iconic. We’ve got some seriously gruesome, meticulously staged killings that will make you wince and gasp all at once. But it’s not just the gore—this is an exercise in style, and every murder is designed to leave a lasting impression. The knife scenes, in particular, are jaw-dropping—gliding through the frame with the precision of a surgeon’s scalpel. Argento’s use of sound and silence is also worth noting. The suspense is built up slowly, only to have the quiet moments shattered by a sudden, shocking burst of violence. It’s a beautiful balance of tension and release, and it’s part of what makes Tenebrae such an exhilarating ride.

Oh, and did I mention the score? Of course I did. Tenebrae features one of the best Goblin soundtracks ever. It’s everything you love about 70s horror music: eerie, atmospheric, and packed with pulsating energy. The soundtrack is the heartbeat of the film, a constant, throbbing presence that injects each scene with an unrelenting sense of urgency. There’s an undeniable rhythm to the music, almost as if it’s keeping time with the killer’s movements, and it works perfectly with the visual chaos that Argento conjures up. You’ll be humming the theme for days after the credits roll.

The performances are great, too. Franciosa may not be the typical giallo lead, but he’s charismatic and convincing as Peter Neal, a man caught in a web of suspicion and terror. His descent into confusion and paranoia as the murders spiral out of control is totally believable. The supporting cast is strong as well, with standouts like the fierce Giuliano Gemma and the always-talented John Saxon, whose presence adds a touch of gravitas to the otherwise chaotic world of Tenebrae.

But let’s be real for a second—this movie isn’t just a technical achievement, it’s a passion project. Tenebrae is where Argento, already a master of horror, shows off just how much he can do with the genre. The result is an exhilarating, high-octane giallo that never lets up. It’s visceral, it’s visually stunning, and it’s so much fun.

The Verdict: 5/5. If there’s one giallo you need to see, it’s Tenebrae. Forget all the pretenders to the throne—this is the film that defines Argento’s legacy in the genre. It’s a glorious, bloody celebration of everything that makes giallo great, and it’s done with such style and precision that it’s impossible not to be swept up in the chaos. It’s the best of the best, and it’s a film that has earned its place in horror history. Seriously, if you haven’t experienced Tenebrae yet, drop what you’re doing and watch it now. You won’t regret it.