For all its flaws, it has one moment of true magic: The creature, standing in the middle of a cinema starring at the projected film. Del Toro's oddity, proclaimed in-film as a god, facing the pagan gods in the biblical Story of Ruth. Del Toro shows he reveres cinema above all else. Yet at the same time it's representative of TSoW's lack of subtext and in-your-face attitude to its narrative and thematic concerns.
Cumming towards fate. Eggs à la Orgasme. Sea Creatures with shining Kyanite-like LED skin beats as if veins revealing feelings. Muteness+silence overthrowing menacing words and threats. Taking care of one's teeth and fucking a lot. Female agency. Being human is sparing animals and creatures as well as saving our fellow man and woman. Oh Hi Rodney McKay from Stargate SG-1/Atlantis. That Jeunet-like opening>oh such ❤ ▽
0. Digital. Shapeless. With an endless soundtrack and a pretentious style, it repeats, in crescendo, what i wrote in relation to the series "Dark": everything is a huge banality but always doing "sensitive", with an unstoppable camera - 99.9% of the frames are with a camera in motion, in spurious and ugly descriptions. Supposedly a fable about the difference, it's no more than an industrial product of/on the same.
THE SHAPE OF WATER is less a fairy tale than it is a bombastic and silly creature-type feature using the Cold War as a kind of overdetermined window-dressing and hedging that its rank sentimentality will feel less like nauseating schmaltz since we are, when all is said and done, talking about interspecies sex. I could go on w/ high-minded criticism, but ultimately it all comes down to how utterly annoying I found it.
The Shape of Water is a sub(lime) fairytale that spins common tropes of 1950s sci-fi and romance flicks into something entirely original. Sally Hawkins and Octavia Spencer are delightful. I also loved the tender soundtrack, and have listened to it a number of times since watching the film. "Yes, pie for breakfast — trust me on this."
Del Toro's latest is beautiful to look at and Desplat once again stuns with his delicate sensibilities. However, for a film that asks me to believe in a love story between a mute and a fishman, I found the emotional component to be oddly bland, devoid of magical moments and often just plain ridiculous. It's a pleasant film, but not a strong one.
Wait, what? Didn't we already see something like this? It feels like a rerun of a show you didn't really liked in the first place. A dull, boring deja-vu. Somethings gotta change if they want to keep us looking at moving pictures...
Gorgeous art direction that channels the era and colourings of Amelie are matched with an excellent cast and superb camera work. Unfortunately TSOW doesn't know who it's audience is; it has ample nudity suggesting it's adults but then confounds with a simplistic good-vs-evil setup that even Michael Shannon can't save and a cheesily predictable ending. 2.5 stars