Review by Derrick Carter
Running Time: 2 hours 3 minutes
MPAA Rating: R for Sexual Content, Graphic Nudity, Violence and Language
Directed by: Guillermo Del Toro
Written by: Guillermo Del Toro & Vanessa Taylor
Starring: Sally Hawkins, Michael Shannon, Richard Jenkins, Octavia Spencer, Doug Jones, Michael Stuhlbarg, Lauren Lee Smith, Nick Searcy & David Hewlett
I’ve yet to see a bad movie from Guillermo Del Toro. Whether it be the eerie combination of Gothic horror and old-fashioned romance in his highly underrated CRIMSON PEAK, a dark fairy tale/war drama in PAN’S LABYRINTH, or Lovecraftian sensibilities in both HELLBOY movies, Del Toro clearly creates the films that he wants to make. Even lesser efforts like giant insect B-movie MIMIC still is miles above other 90s B-flicks of its same genre. Del Toro knocks another film out of the park with THE SHAPE OF WATER! This film plays out like CREATURE FROM THE BLACK LAGOON meets BEAUTY AND THE BEAST. With an audience-pleasing narrative and loads of imagination, THE SHAPE OF WATER is a wondrous cinematic experience!
In 1962’s Baltimore, Elisa Esposito (Sally Hawkins) is a mute custodian working at a top-secret government facility. Esposito is looked down on by her snobby superiors, but has two great friends in talkative Zelda (Octavia Spencer) and oddball artist Giles (Richard Jenkins). Everything changes when Elisa’s workplace receives its latest experiment: an Amazonian humanoid-like amphibian (Doug Jones). In a strange twist of fate, Elisa and the “monster” begin to form a romantic bond. All the while, headstrong Colonel Strickland (Michael Shannon) turns into a fearsome villain intent on dissecting the creature and concerned scientist Dr. Hoffstetler (Michael Stuhlbarg) tries to keep the creature safe at all costs.
It shouldn’t surprise anyone that THE SHAPE OF WATER began as Guillermo Del Toro’s original idea for a CREATURE FROM THE BLACK LAGOON remake. When he was a child, he wanted to see the creature and Julie Adams romantically end happily ever after. Unsurprisingly, Universal (the same studio that effectively killed its “Dark Universe” in the space of one movie) rejected Del Toro’s original take on a remake. Del Toro then transformed his idea into THE SHAPE OF WATER and has also dubbed it as his first “adult” film that tackles issues he’s concerned about in the modern age…as opposed to childhood fantasies and nostalgia seen in previous entries in his filmography. As a result, THE SHAPE OF WATER just might be Del Toro’s best film since PAN’S LABYRINTH.
Although it might sound hard to buy in a believable manner, the romance between Sally Hawkins’ protagonist and Doug Jones’ creature is totally compelling from start to finish. The ways in which these two outsiders bond over food, music, and sign language is beautiful. Hawkins is able to communicate everything she means without ever speaking a word…save for one dream sequence that serves as a great stylish WTF moment in the best way possible. Doug Jones does his usual weird thing as a monster, but doesn’t deliver any frights (save for when the creature is threatened).
Besides being a simple fantasy-romance between a mute woman and a fish-man (a description that woefully undersells this film), SHAPE OF WATER also has many subplots that further flesh out its characters in interesting ways. Nearly every character in this film receives a story arc that occurs around the woman-monster relationship. The most interesting of which easily belongs to Michael Shannon’s unusual villain. Strickland is easily one of the best roles that the madly talented Shannon has taken so far and allows him to flex his evil acting muscles as the story’s despicable antagonist. He also delivers a particularly gruesome moment that made my theater’s entire audience cringe and exclaim in unison.
I won’t mention too many details about the rest of the subplots. However, Michael Stuhlbarg is a very interesting character and his story arc is especially relevant to the time period of the 1960s. Richard Jenkins is just plain weird in spots, but that’s his character in this film. His distinct brand of quirkiness provides some chuckles, as well as many emotional moments that resonate in unexpected ways. Octavia Spencer is exactly a major character, but she does very well as a best friend who’s caught up in this monstrous mess. One thing that’s easy to notice is that almost all of these good characters are outsiders in some way, shape, or form. All the while, the main villain is the stereotypical 1960s macho-man American who’d usually be the hero in a 1950s/60s monster movie. It’s a fascinating switch-up to watch and one that only Del Toro could create in such a compelling manner.
As you might expect, SHAPE OF WATER’s visuals look amazing…much like the visuals in pretty much every other Del Toro production. The 1960s era is captured in a way that almost seems foreign…pointing out big problems that existed in the supposedly clean old-fashioned 60s. However, this is never done in a way that seems distractingly excessive or intrusive to the film’s story. Instead, it adds yet another layer to this wonderfully creative cinematic beauty. The effects are also worth praising as the blending of practical effects (in Doug Jones’ monster suit and brief gory bits) and computer-generated imagery (in the underwater sequences and shots that would be impossible to capture practically) is seamless.
Del Toro has done it again! This director has yet to make a bad or even mediocre film as he continues his winning streak in THE SHAPE OF WATER. WATER’s performances are stellar across the board, with especially impressive acting from a soundless Sally Hawkins. Spectacular special effects, a whimsical soundtrack, fantastical atmosphere, well-developed characters, and clever writing that blends a main story with many subplots, all make THE SHAPE OF WATER worth your time. If you want to see an out-of-the-ordinary romance that is romantic but not conventional by any means, then dive into this wondrous cinematic oddity.