Every October, I plan to watch horror movies each weekend and every year, I wuss out. This year, instead of dialing back, I decided to go all in and try for a movie per night. With a week left leading up to Halloween, I’ve decided to write a review for every film I’ve watched.
I started off with a film I knew I had to see the minute the first set photos leaked. Tom Hiddleston and Jessica Chastain in gorgeous Victorian costuming is reason enough to watch any film. Crimson Peak has so many elements I love in a gothic horror. Given my favourite movie of all time is Sweeney Todd, of course Crimson Peak would be right up my alley. It’s Victorian, it’s gothic, it’s a ghost story, it’s highly stylised… all the things I love.
After digging into Pan’s Labyrinth, Pacific Rim, and now Crimson Peak, I’m beginning to come to the conclusion that Guillermo del Toro is becoming one of my favourite directors. He’s got a nice, wide range of interests, which makes his films vastly different. One second, he’s doing a dark fairytale take on World War 2, another he’s doing a campy rubber monster movie/robot mashup movie, and the next he’s doing a Victorian ghost story. He’s no one trick pony. Much as I love directors such as Tim Burton, del Toro’s unique style doesn’t automatically make you think, ‘oh yeah, another black and white toned artsy gothic’. At no point would I confuse any of his films.
The biggest reason I’ve failed in my venture into the depths of horror marathons is getting scared right off the bat. Which is why the stylised camp of Crimson Peak worked well as my first test. The thing about horror movie scares is all that tension has to come with a satisfying payoff. With Crimson Peak, the tension is wound tight, but the ghosts are beautifully stylised and still appropriately creepy. The visual effect is enough of a payoff in itself. Del Torro’s filmography is similar to Alfonso Cuaron, in that it’s full of imagery and he’s not interested in being subtle about it. It’s there, it’s beautiful, he wants you to know its there for a reason. The entire film is slicked with red. The trailer and movie stills make it look like The Shining elevators spilling blood. It’s horror movie bread and butter, really. But for once, that’s not what’s going on here. Whether the set is drenched in blood or not, all that red makes for a gorgeous visual feast.
In terms of plot, Crimson Peak seems to be a fond homage to Victorian gothics before it. It’s got hints of Turn of the Screw and Jane Eyre in terms of ghostly deceptions and deadly secrets tied to ancestral mansions. As a result, the twists and turns are more on the predictable side, yet still manages to take a unique spin on the trope.
Whenever I sit down to watch a horror film, I ask myself three things: am I scared? Am I impressed? Am I surprised? Crimson Peak fulfills all three. The artistry is undeniably gorgeous and while I predicted certain events, they didn’t unfold as I quite expected. There’s a certain risk to revealing the monster within the first scene, but del Toro still manages to maintain the creep factor every time the ghosts show up. There’s something unsettling about them, despite the fact that they’re so highly stylised, they’re on the unrealistic side. But del Toro’s not here to sell a realistic film. He’s selling a work of art – one that’s inherently creepy and melancholic in both measures. And I’m certainly buying it all.
Final Twist: 7/10
Overall Rating: 8/10