I never go with what a critic says but this seems pretty universal so far. The Suspiria remake screened yesterday and The Hollywood Reporter put together this compilation of reviews
David Rooney’s take for The Hollywood Reporter critiques the film as being “unnecessarily drawn out" and consisting of "too many discursive shifts to build much tension.” Though he calls Swinton and Winkler “marvelous,” the reviewer calls most of the remaining featured roles “insufficiently individualized” to make them more than “an arch sisterhood distinguishable only by looks.”
Despite judging the film to be “aesthetically striking," Rooney writes that the remake “remains distancing” and Guadagnino’s “ambitious homage” doesn’t “benefit from its more intellectualized gaze," ultimately failing to measure up to the original cult movie
Peter Bradshaw of The Guardian was also unimpressed with the film, dubbing it as “weirdly passionless” and having a “muddled” narrative focus that is more suited to be categorized as an “MA thesis” than a remake.
Indiewire’s David Ehrlich shared the same sentiments in not perceiving the film as a remake but rather as “an estranged sibling” to the original where “only by drawing some blood” can moviegoers notice a relation between the two. Nonetheless, Ehrlich writes that the film “offers a richer, more explicit interpretation of that old nightmare” where he likens Guadagnino touching on the original’s anxieties to “picking at a scab.”
Stephanie Zacharek of TIME Magazine writes that it is not the actors' fault for the remake being “bland” but rather Guadagnino for being “tripped up by his own ambitions.” “He has made the plot and the setting insanely complicated,” critiques Zacharek, also adding that the leads and supporting roles simply “do all that is asked of them.” Gaudagnino sets the film in 1977 Berlin, but Zacharek notes that the additional factor fails to make the historical elements an “integral part of the story.” “The political backdrop is an extra layer of needless complication.
Screen Daily’s Tim Grierson also criticized Guadagnino’s film as being a “feast of excess” that simply “tries to do too much”, which ultimately will result in the director failing to receive the praise he drew with Call Me By Your Name. Though the director “reaches for greatness,” Grierson says that the “whirlwind of that effort is sometimes more stunning than the execution.”