REVIEW: THE SHAPE OF WATER
The generic cup of Guillermo del Toro's latest, The Shape of Water, runneth over. It is fantastical, horrific in points, a musical element (I won't spoil that surprise), intense psychological drama, comedic moments courtesy of the always-fabulous Octavia Spencer and Richard Jenkins, and of course, as the amphibian man will tip off to you, sci-fi. But if I had Michael Shannon pointing a gun to my head (and let's be honest, with the performances he gives, that might not be out of the realm of possibility), I'd label The Shape of Water a romance. It's ruminations of love and hate and the ways we can show love, express it, would be goopy and syrupy in the hands of a lesser director, but del Toro is full-on freaky fairy tale here, and if you're wondering why the movie with the big green fish man is getting nominated for so many awards, I suggest you read my review.
Of course, the magic of this movie is that you don't have to choose. It's gruesome, it's sexy, it's a little scary, it's wonderful. The British gem Sally Hawkins plays mute cleaning lady Elisa in a...government facility? (del Toro doesn't really get bogged down in small details like that, or where our amphibian monster comes from.) She works there with sassy fellow cleaning lady Zelda (Octavia Spencer, who, though in a Golden Globe-nominated performance, I still wish Hollywood would stop giving her nurse and maid roles). Elisa also finds comfort in her hopeless romantic neighbor Giles (Richard Jenkins), though it's a completely platonic bond for reasons I won't spoil here. Whilst cleaning the men's room, Elisa and Zelda meet Strickland (Michael Shannon), greeting them by literally swinging his junk, placing his cattle rod zapper on the sink and effectively creeping the ladies out. Strickland is in charge of the care of an amphibian creature he captured from South America, and, loathing the city of Baltimore that he's currently located in, is itching to kill the creature and get out.
Shannon is so good at playing an unhinged bad guy that we might be used to it, but we shouldn't. Though the Academy has nominated him for non-villain roles in Revolutionary Road and Nocturnal Animals, his over-the-top Zod, his wild turn in Kangaroo Jack (there's a movie you didn't expect to see in this review), but nothing compares to the Bible-quoting, eight-fingered, candy-chewing Strickland. del Toro could've opted for the east Big Government Bad, but he allows entry into his antagonist's personal life. He's a man of control, who sees oppression as a favor to others because they get to listen to him. I'm highlighting Shannon's role because Spencer, Jenkins and Hawkins have all been accumulating the award nominations this year, and while they're well-deserved, Shannon needs a moment in the spotlight.
Speaking of Sally Hawkins, she continues her winning streak and furthers the argument for proclaiming her one of today's greatest actors. I played a mute once in my college musical, and once you're free of being chained to the script, not having to talk can let your character express so much more. She's pretty close to perfect as Elisa, a character who might've been played as a "woe is me" sad sap, but in Hawkins' hands radiates optimism and determination. Richard Jenkins is a sensitive sensation as Giles. As I'm writing this, I'm realizing this movie is a character actor's dreamscape. All the folks in the margins of your favorite films, including the fantastc
Michael Stuhlbarg, excel in this feature.
The style of this movie, creature-feature/science lab green is surprisingly effective, where it could've just looked like a fish tank. My only lament is that the one thing del Toro sacrifices when he plays homage to the monster movies/romance flicks of the past is unpredictability. I knew where the beats of the film were going to take me, but when a movie is done as well as this, you don't really mind. Start 2018 off right with what is sure to be an Oscar-winning delight, and with a movie that features an inter-species romance that doesn't come off as goofy, that's a miracle.
Rating: 3.5/4 stars
Of course, the magic of this movie is that you don't have to choose. It's gruesome, it's sexy, it's a little scary, it's wonderful. The British gem Sally Hawkins plays mute cleaning lady Elisa in a...government facility? (del Toro doesn't really get bogged down in small details like that, or where our amphibian monster comes from.) She works there with sassy fellow cleaning lady Zelda (Octavia Spencer, who, though in a Golden Globe-nominated performance, I still wish Hollywood would stop giving her nurse and maid roles). Elisa also finds comfort in her hopeless romantic neighbor Giles (Richard Jenkins), though it's a completely platonic bond for reasons I won't spoil here. Whilst cleaning the men's room, Elisa and Zelda meet Strickland (Michael Shannon), greeting them by literally swinging his junk, placing his cattle rod zapper on the sink and effectively creeping the ladies out. Strickland is in charge of the care of an amphibian creature he captured from South America, and, loathing the city of Baltimore that he's currently located in, is itching to kill the creature and get out.Shannon is so good at playing an unhinged bad guy that we might be used to it, but we shouldn't. Though the Academy has nominated him for non-villain roles in Revolutionary Road and Nocturnal Animals, his over-the-top Zod, his wild turn in Kangaroo Jack (there's a movie you didn't expect to see in this review), but nothing compares to the Bible-quoting, eight-fingered, candy-chewing Strickland. del Toro could've opted for the east Big Government Bad, but he allows entry into his antagonist's personal life. He's a man of control, who sees oppression as a favor to others because they get to listen to him. I'm highlighting Shannon's role because Spencer, Jenkins and Hawkins have all been accumulating the award nominations this year, and while they're well-deserved, Shannon needs a moment in the spotlight.
Speaking of Sally Hawkins, she continues her winning streak and furthers the argument for proclaiming her one of today's greatest actors. I played a mute once in my college musical, and once you're free of being chained to the script, not having to talk can let your character express so much more. She's pretty close to perfect as Elisa, a character who might've been played as a "woe is me" sad sap, but in Hawkins' hands radiates optimism and determination. Richard Jenkins is a sensitive sensation as Giles. As I'm writing this, I'm realizing this movie is a character actor's dreamscape. All the folks in the margins of your favorite films, including the fantastc
Michael Stuhlbarg, excel in this feature.
The style of this movie, creature-feature/science lab green is surprisingly effective, where it could've just looked like a fish tank. My only lament is that the one thing del Toro sacrifices when he plays homage to the monster movies/romance flicks of the past is unpredictability. I knew where the beats of the film were going to take me, but when a movie is done as well as this, you don't really mind. Start 2018 off right with what is sure to be an Oscar-winning delight, and with a movie that features an inter-species romance that doesn't come off as goofy, that's a miracle.
Rating: 3.5/4 stars
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