



By the mid-80s, Argento was throwing everything at the wall, and Phenomena is the proof. The story makes almost no sense—a daft meandering mess with characters who sound like they’re reading from a mistranslated microwave instruction manual. Jennifer Connelly, in her debut, already looks like she’d rather be dancing with David Bowie in Labyrinth than swatting giant insects, while Donald Pleasence gamely keep it afloat.
Yet for all its tedium, there’s a delirious charm. Argento douses the film in unholy shades of blue and purple, cranks up the wind machine until it’s practically a character, and slams Goblin’s prog against Iron Maiden and Motörhead. The result is chaotic, ridiculous, and oddly hypnotic.
The first two acts may test your patience, but the third goes gloriously off the rails—a lunatic finale that makes you forget how much he’s recycling from his own tricks. Forget greatness: this is Argento at his most unhinged, and somehow that’s the charm.