In Rome, a serial killer has strangled three prostitutes with cello rope. "The Cellist's"'s last rope is destined for Diana, a luxury escort who frequents the hotels of Via Veneto. One night, the maniac chases driving a van and rams her, sending her crashing into another car. She awakens in the hospital, shrouded in darkness. The diagnosis is final: she lost her sight in the crash. Rita, a young woman from the Blind Society, helps Diana with her first steps in the darkness an... (Full plot summary below)
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In Rome, a serial killer has strangled three prostitutes with cello rope. "The Cellist's"'s last rope is destined for Diana, a luxury escort who frequents the hotels of Via Veneto. One night, the maniac chases driving a van and rams her, sending her crashing into another car. She awakens in the hospital, shrouded in darkness. The diagnosis is final: she lost her sight in the crash. Rita, a young woman from the Blind Society, helps Diana with her first steps in the darkness and in her new life; in the meantime, the police investigate, unsuccessfully. But it won't stop there. The Cellist must finish his work. Diana, helped by Chinese orphan Chin, can only try to escape. The cat and mouse game has just begun.
Leave your thoughts about Dark Glasses.
| Film ThreatMichael Talbot-HaynesEven though this is just a blood-stained shadow of Argento’s previous masterworks, the fact that he has produced something worthwhile again is a cause for celebration. |
| The PlaylistElena LazicTogether with the firm confidence of its execution, perhaps it is this sincerity that marks Dark Glasses as a touching late work from a master. |
| ColliderAlyse WaxDark Glasses is no Suspiria or Tenebrae, but it’s also no Dracula 3D. It’s a fine movie, and sometimes, that is all you can ask for. |
| IndieWireBen CrollLike 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. |
| The Film StageRory O'ConnorYes, Dario Argento’s first film in ten years is pretty fun, for a while—and no, not near his best. |
| TheWrapCarlos AguilarIt’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. |
| Los Angeles TimesNoel MurrayThere are set pieces scattered throughout Dark Eyes that are as strange — and as strangely beautiful — as the best of Argento, starting with an unnerving opening sequence that sees a group of people in a park gazing at a solar eclipse. |
| VarietyMichael NordineWhile 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. |
| The Hollywood ReporterJordan MintzerDark 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. |
| Paste MagazineMatt DonatoDark Glasses is forgettable. It’s also an upgrade for contemporary Dario Argento. |
