Brilliant fairy tale not for kids

Rating: 9/10 (9 January 2007)

"Pan's Labyrinth" "Pan's Labyrinth" is a fairy tale film for adults, an astounding visual feast that is as gorgeous as it is gory. Do not be deceived by the fairies, castles and the presence of a little girl as the main protagonist, graphic violence is everywhere, from scenes of war, grizzly torture (though, to be honest, probably not much worse than what is shown on "24") and genuinely frightening fantasy moments.
Having done my duty for the MPAA, I am now compelled to discuss the devastating brilliance of writer/director Guillermo del Toro's film ("El Laberinto del Fauno," in Spanish). Known for his work on acclaimed horror/fantasy films ("Cronos," "Hellboy"), del Toro uses "Pan's Labyrinth" to examine the effects on a child living in Spain during the Spanish Civil War, a conflict and concept he has alluded to before, in "The Devil's Backbone." Like M. Night Shyamalan, Mr. del Toro has a gift for extracting emotional depth from young performers, and Ivana Baquero's turn as little Ofelia is no exception. We meet her on a journey through the woods, traveling with her mother, Carmen (Ariadna Gil) on their way to her new father's estate (Sergi Lopez as army Capitan Vidal).
Still suffering from the trauma of her biological father's death, and the fear of her new home and father, Ofelia has found escape in books. However, when she uncovers an insect that turns into a fairy, del Toro and his visual effects crew will leave you blinking in amazement. Ofelia is lead to a labyrinth of rocks behind Capitan Vidal's estate, where she embarks on a quest that will, hopefully, lead her to a castle where she will become a princess.
While Capitan Vidal hunts down and tortures rebels hiding in the woods, and her mother battles a difficult pregnancy, Ofelia is left to complete tasks designed by a faun named Pan. The story never grants us the knowledge of whether or not Ofelia's creatures and tasks are real, so we are left to infer as to their validity.
The omnipresent gloom of war leads to a vital plot shift involving rebels and Capitan Vidal's servant, Mercedes (Maribel Verdu in an outstanding performance), who has become a surrogate mother to Ofelia while also secretly helping the rebels. We see the horror of Capitan Vidal's violence, and the depths of his black soul. Sergi Lopez's performance is powerfully chilling.
Ofelia's tasks take her to mystical places, from the inside of a large tree to uncover a key hidden in a toad's belly, to a frightening encounter with a child eating creature with eyes on his hands. Mr. del Toro's vision is laudably brought to life through stunning audio and visual effects, intricate set pieces and brilliantly constructed costumes.
The tragedies mount for poor Ofelia as her quest goes astray, and Capitan Vidal's rage becomes increasingly uncontrolled as the film nears a brutal conclusion.
Wisely, the film grants us the freedom to draw our own conclusions at the end. Those hardened by the harsh cruelties of human nature may be saddened, but those who still hope for a better world will leave the theater believing in magic.