Metacritic reviews

The kind of film that starts off with a climax and builds to a plateau of surrealist delirium that, one way or another, will have you shrieking.

For all its nonsensical qualities, it also contains some of Argento's most hallucinatory images and unforgettable setpieces, as always reason enough to watch even when the usual reasons are nowhere to be found.

There are some outstanding sequences in this movie that are truly chilling

Dario Argento undervalues his material, but his set pieces are glorious enough that the film’s plot contrivances can be forgiven.

The writing is clumsy, with information packed crudely into the dialogue, and his attention to the performances is inversely proportional to his attention to style. Yet his “New York” has an eerie, deserted, otherworldly quality—much as Stanley Kubrick’s Eyes Wide Shut would later—and some of the individual setpieces are spectacularly vibrant.

Although not as powerful, impressive, or exciting as Suspiria, Inferno is still intriguing, effective, and stylish enough to make the narrative unimportant.

The movie's distinguishing feature is not the number or variety of horrible murders, but the length of time it takes for the victims to die. This is a technique that may have been borrowed from Italian opera, but without the music, it loses some of its panache.

A much more conventional and unexciting piece of work.