vaginocrática 
Pope, and now what? "S i ever decide to return to that atmosphere will be because they really I feel a strong desire ", Dario Argento commented some years ago, many years, cuestionársele on the possible closure of the-until then hypothetically Mothers trilogy started with Suspiria (Italy, 1977) and continued with Inferno (Italy, 1980). Well, the drive appeared : Mother of Tears (Italy-EU, 2008) we now have as the closure of the delusional and nevertheless fascinating saga on transvestite evil witch (witches, mothers, therefore, that they hold together "conceptual" to the set) in the middle of the contemporary world with tired desire to undo and make further life miserable heroines who go there, Some Like It Hot, in plan skeptical cosmopolitan cities of the first world.
But, "because" but "there is, of creative impulses to whims is less than a letter, and that strong desire which required motivationally Argento seems tied more to an effort to try to strengthen and be faithful to that idea living legend in which he believes to have become (very common in the good old horror filmmakers who survive) that the fact that he found the exact history to close in a logical and worthy of alchemy vaginocrática this cycle.
And is that Mother of tears is, unequivocally, the worst movie of the author. What if you have had a masterpiece? No. But his films less worse despite plot traps suffer from multiple, bizarre situations even in the parameters of gender ( thriller, horror), turns of the screw along the ridiculous, unintentional humor in abundance, Argento knew compensate defects with a huge visual inventiveness, with a stranglehold on key scenes (mostly violent) a decision near flawless perfection in tempo and rhythm, an almost master planning, creating atmospheres and certain expressionism understood grating much to his way but working quite well. Argento's cinema is cinema of moments, rather than movies, and unfortunately there's no room in this time for typical Argento moments.
The manager here unknowingly opened Pandora's box is Asia, the daughter of the filmmaker, and it is she who will walk, run, stumble, cry, for that Open City witch the siege, without ever knowing fully what happens (diegetic and extradiegética). Because the feeling that neither the director himself knows it is installed from the beginning to the end. Argento seems to shoot blindly groping and seems to improvise in each scene as if it had occurred each second before issuing "action." Characters come and go, not black magic, but by an argument that seems to exist. Udo Kier your minutes just to say "present" and remind us in passing that, in effect, this has something to do with the infinitely superior Suspiria and Inferno.
With Mother of Tears of alchemy vaginocrática what Argento has a strong flavor of kidding. Or perhaps the explosion to open laughter from Asia Argento in the end, no logic has been to free?
(Joseph Abril)
... Hopper (1936 - 2010) 
Pope, and now what?