The Shape of Water

The Shape of Water, the Oscar winning film about an unlikely love between a humanoid amphibian and a mute woman set in the early 1960's. The movie was greatly directed by director and screenwriter Guillermo Del Toro and acted by award winning actress Sally Hawkins with supporting actress Octavia Spencer. The movie is full of hope and desire as the lead characters explore love in a unique way that is different and unnatural. The movie will have you shed tears, in suspense, and thrilled by shocking twists and events.

"Unable to perceive the shape of you, I find you all around me / Your presence fills my eyes with your love, It humbles my heart, For you are everywhere." -Giles, The Shape of Water

I must admit that I was surprised to learn that this film won 4 Oscars, though I'm just as surprised by the many negative 1 and 2 star reviews that it has received. In terms of ideas and creativity, 'The Shape of Water' is as good as any film I've seen in the last few years. With a storyline as inventive and unique as this one, it makes for a fascinating couple of hours of viewing and, if you like films that take risks and dare to be different, there is a lot to enjoy about it.

For all its ideas and creativity, however, 'The Shape of Water' is lacking in some areas and can make for frustrating viewing at times. The storyline is underdeveloped in areas, particularly towards the end where there are many unanswered questions and the ending itself is a little underwhelming. That said, 'The Shape of Water' deserves credit for injecting fresh ideas into the fantasy romance genre. It might not be worth 4 Oscars, but 'The Shape of Water' is a unique and captivating film.

"When he looks at me - the way he looks at me. He does not know what I lack or how I am incomplete. He sees me for what I am, as I am."

This film was strange, yet haunting. Disturbing, yet poetic. I loved the cinematography, the music, and the moral behind this film. Love is not judgemental, and this film leaves you with an ache in your chest.

A mute janitor falls in love with a fish man during the Cold War 1950's. That's about as simple as you can describe the plot of Guillermo Del Toro's new film The Shape of Water. Del Toro has always had in interest in monsters for his films. No matter how scary or deformed they look, they always have human traits that connect us with them. In this film, Del Toro has crafted his most likeable monster yet and tells a totally original story (trust me) that is part romance, part thriller.

We follow the life of a janitor without a voice, Elisa Esposito (Sally Hawkins). She works in an underground facility alongside her co-worker, Zelda (Octavia Spencer), who talks enough to make up for Elisa's silence. One day a secret test subject is brought into the facility by the psychotic Strickland (Michael Shannon). The subject happens to be an amphibious-human hybrid creature that was found in the Amazon and has been brought back to America in order to be dissected and studied. After interacting together a few times, Elisa and the creature begin to form a special bond of love. Elisa recruits her neighbor (Richard Jenkins) and a sympathetic Russian spy (Michael Stuhlbarg) for a plan to break the creature from his chains and allow him to return home.

The plot carries both a whimsical and serious tone to it. They mostly go together well as we get a fairytale that isn't afraid to embrace a childish feel with adult actions. However, GDT goes overboard once with a song and dance number that comes close to throwing the whole film off during its most poignant time.

This is one of GDT's most mainstream films (apart from Pacific Rim) and is a great way for people unfamiliar with his work to be introduced. He expertly uses his monster experience to make a film that carries a realistic and fantasy tone.

He also makes a very brave film that doesn't shy away from unconventional material. We get to see Michael Shannon having sex after his fingers get severed, political assassinations, and a self-pleasuring scene involving an egg timer. Oh, Elisa and the Amphibian Man also experience, let's just say, a special physical connection.

The most impressive aspects of the film come from the behind the scenes work. The camera is brilliantly manned by Dan Lausten. It flows freely between the sets to give the film a romantic fantasy feel, but he also uses constant rain, dark colors, and confined spaces to make it feel like a cold war noir.

The production design is also outstanding as each set piece is designed with care and precision. It's astonishing that this film was made for only $19.5 million because it looks like it cost more than triple that amount.

The actors create one of the best ensembles of the year. They all carry their weight when matched together and make their characters interesting to watch. Hawkins is perfectly cast and leads the show with her signature shy look. She gives the most compelling and passionate performance of the year, all without saying a word.

Richard Jenkins also gives an award-worthy supporting performance as Elisa's neighbor, Giles, who is going through a midlife crisis in terms of his career and sexuality. His scenes with Hawkins are astounding, but the ones with him alone aren't as great and take away from the important story.

While not breaking any new ground, both Michael Shannon and Octavia Spencer do what they do best. Shannon gives his trademark evil, unhinged authority performance. Spencer does well in a performance very similar to her role in The Help.

Michael Stuhlbarg also continues his amazing 2017 (also in Call Me by Your Name, The Post, and on TV with Fargo) by giving a great performance in the little time he has. Shoutout to Doug Jones as well for playing the Amphibian Man. He gives an endearing performance that brings warmth to his naturally cold-blooded character.

The Shape of Water is easily one of 2017's best films and deserves all the Oscar nominations it will get. Every person in the cast and crew do their job exceptionally and create a breathtaking cinematic experience that makes you feel like a kid again while also giving you the stuff your adult mind wants to see.

It's a time when being different was discouraged, by how you looked, by how you hooked, by how you foraged, in a world of prejudice, the overwhelming emphasis, was to align, to toe the line, to be acknowledged. Elisa's mute, but she still has things to say, using Zelda as a surrogate airway, together they both clean, where there's things that go unseen, behind one doorway there's a place she likes to stay. In this place something's imprisoned and interned, Elisa shows it love, the tides begin to turn, a connection has been made, it's time to escape and evade, logistically that causes some concern.

Sally Hawkins is as spectacular as ever in an imaginative tale that reflects a world of the past, but not forgotten or disappeared (sadly).