A former assassin known as The Bride wakens from a four-year coma. The child she carried in her womb is gone. Now she must wreak vengeance on the team of assassins who betrayed her - a team she was once part of.
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
A family heads to an isolated hotel for the winter where an evil spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
In 1944 falangist Spain, a girl, fascinated with fairy-tales, is sent along with her pregnant mother to live with her new stepfather, a ruthless captain of the Spanish army. During the night, she meets a fairy who takes her to an old faun in the center of the labyrinth. He tells her she's a princess, but must prove her royalty by surviving three gruesome tasks. If she fails, she will never prove herself to be the the true princess and will never see her real father, the king, again.Written by
Guillermo del Toro is famous for compiling books full of notes and drawings about his ideas before turning them into films, something he regards as essential to the process. He left years worth of notes for this film in the back of a cab, and when he discovered them missing, he thought it was the end of the project. However, the cab driver found them and, realizing their importance, tracked him down and returned them at great personal difficulty and expense. Del Toro was convinced that this was a blessing and it made him ever more determined to complete the film. See more »
Vidal is using a Luger P-08 pistol. When he "fires" it, although smoke can be seen coming out of the barrel, the distinctive cartridge eject mechanism of the P-08 doesn't move, nor do any spent cartridges eject. This is due to a prohibition on pyrotechnics in the forest used for filming and the sound of gunfire and muzzle flash having been added later. See more »
A long time ago, in the underground realm, where there are no lies or pain, there lived a Princess who dreamed of the human world. She dreamed of blue skies, soft breeze, and sunshine. One day, eluding her keepers, the Princess escaped. Once outside, the brightness blinded her and erased every trace of the past from her memory. She forgot who she was and where she came from. Her body suffered cold, sickness, and pain. Eventually, she died. However, her father, the King, always knew...
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The two "Stick Insects" are credited as Cheech and Chong, after which it says "MAY THEY REST IN PEACE". See more »
I saw the film at FrightFest in London a couple of days ago, and was pretty well sure I'd be seeing something special - but I ended up seeing a film that is downright extraordinary. Brutal but beautiful, magical yet earthy, it has a remarkable cast, with standout performances all round.
A special mention must go to Sergi Lopez, whose 'Captain Vidal' is indeed one of the most sadistic film creations ever seen. Yet he manages to make the audience understand why he is the way he is ... an astounding performance. Maribel Verdu's quiet but rebellious housekeeper is one of the strongest female roles I've seen in many a year, and she is supported by a wealth of talent. Young Ivana Baquero is surprisingly self-assured as 12-year-old Ofelia, and I especially liked her almost Alice-like approach to the magical creatures she encounters in the labyrinth. The icing on this warped fairy tale is Doug Jones, who gives a towering performance - and in this case literally, as well as figuratively - as the guardian of the labyrinth, a faun, full of grace and charm and latent menace. Although dubbed, his Spanish is perfect (Jones speaks not a word of the language), and his physical presence is incredibly powerful as his character teases, cajoles and harries Ofelia to fulfil her tasks. He also plays the devastatingly creepy and disgusting 'Pale Man' - a creature that almost equals Vidal in his terrorising habits.
But the cast is just one facet of this gloriously photographed film, with Javier Navarrete's hauntingly simple score weaving itself into the fabric of a film perfectly edited and written. The brutality of post-Civil War Spain contrasts with the world of magic to which Ofelia is drawn, yet everywhere she goes she has choices to make. In fact the film is about choices, good and bad, and one discovers that no matter how desperate a situation becomes, a choice is always available - although that choice may mean one's death. The film is violent - very violent, but each moment of brutality, although graphic, has a purpose - nowhere is it gratuitous.
I loved it - as I knew I would - and if the Oscar voters don't give this film at least a nod for Best Foreign Language Film next year, then I will know that they have lost any sense of reason or comprehension. Because this film is truly a masterpiece, and Del Toro's greatest work to date.
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