The Shape of Water is worth fishing out for! It's one hell of a catch!

Rating: 8/10 (8 February 2018)

Originally pitch as a remake of 1954's 'Creature from the Black Lagoon', in which the gill man whom be portray more sympathetic. Director Guillermo Del Toro hope for the project to be, greenlighted, in order to first capitalize on Universal cinematic 'Dark Universe' concept, as well, as tell & reflect on how he feels to be living in America as an isolate outcast immigrant; in a fish out of water, world, where he doesn't fit, their ideologies. However, the studio wouldn't let it happen, as 2017's 'The Mummy' would be chosen, in its place to lead the pack. Nevertheless, Del Toro was determined, and embark on making a similar movie, mostly on his own, with Fox Searchlight Pictures & TSG Entertainment help, call 'the Shape of Water'. Taking ideas, from many sources, ranging from novels like 1982's novel 'Mrs. Caliban' by author, Rachel Ingall, 1837's "The Little Mermaid' by Hans Christian Anderson & 1928's 'Amphibian Man' by author, Alexander Belyaev, to video games such as 2007's 'BioShock', to foreign movies like 2001's 'Amelie' to even themes from his previous films like 2004's 'Hell Boy' & 2006's 'Pan's Labyrinth'. Del Toro shape together a number of well-worn genres & turn them into a fantasy romance 'Beauty and the Beast' type story, in which, a mute woman, Elisa Esposito (Sally Hawkins) risk everything, in order to free, a captured amphibian creature (Doug Jones) from being killed in government high-security laboratory, for the sake of love. Without spoiling the movie, too much written by him, while the movie follow familiar formulas, and isn't as original as it could had been, the story still stands out, as something that is very entertaining & compelling to watch. To enhance, the film even more, Del Toro made the right decision in having the movie set in 1962, during the height of the Cold War. Seeing characters having to deal with casual and institutionalized racism, sexism, and homophobia throughout the story; really does raise the stakes; as well, give the audience, a sense of nostalgia awe to not only classic B-list horror movies, but yesteryear films in general & how they still very much, relate, to today's world. Much of this come from the dazzling use of music from composer, Alexandre Desplat, wonderful visuals/special effects, florid cinematography from Dan Laustsen, and art designs that range from the Gothic to steampunk style, locations and costumes, the sumptuous-looking film fully transports the viewer to another time and place, even if it's looks & sounds exceedingly silly at times. Nowhere is this more evident than in the film's most heartwarming sequence, a lavishly designed, 1936's 'Follow the Fleet'-style ballroom black & white dance number. Nevertheless, the movie did have some bigger jarring moments than that. One such thing, was the idea, that everybody that works at the lab, would had the security clearance to see the creature, even if they happen to be the help. It was really hard for me to suspense my disbelief, on that. After all, it seem really odd, that there was no 24/7 security surveillance cameras & armed guards watching at post near the room, for something, that is dealt, as a highly sought after, yet dangerous asset by the government agents. It seem too unrealistic. Another problem with the film is the pacing of the action. It really doesn't make any sense for any government agencies be willing to dissect a rare endangered animal, so earlier in arrival, nor does it add up, why Elisa to wait for so long, to release the Sea-God, back into the wild. After all, the Chesapeake Bay is really close by, regardless how deep, the canal, is. The sequences after the heist, felt, like nothing, but filler. Regardless of that, the underwater sequences are particularly elegant, and really shows, how the hardest of barriers can be broken into. Another cool thing, worth seeing is the use of the color: green. The color really does symbolizes the healing, each character has to take, in order to become better people. Nevertheless, some of the others visual sequences were a little kelted, such as the notorious sex scenes. I think, Del Toro could have told this unconventional love story without including the graphic nudity; and most of all, deprived of the clear implication of an interspecies sexual relationship, a lot better with the use of sexual connotation of eggs. Nevertheless, I do understand, those fans who love these sequences, as it does shows love-making of any kind even taboo in a positive, tasteful light. However, I never got the idea, that the amphibian man love Elisa, the same way, she sexually love him. It really felt like Elisa was taking advances on the defenseless creature with a child-like mind, due to her lack of sexual activities. It's almost as predatory & gross, as Colonel Strickland (Michael Shannon)'s advances toward her. It was a little off-putting. Look, as much as fans can spin it. It still bestiality, no matter, how they put it. If this film was about adult man screwing a defenseless sea turtle. Then, they would be, singing a different tune. Regardless of that, I like the fact that the lover's perspective never changed; even when face from biblical style threats, saying that what they're doing is sinful. I just wish, the relationship between sea being & Elisa was a little more developed. Nevertheless, Hawkins's portrayal of a mute, lonely, passionate janitor was very convincing. She is the heart of this movie and it simply wouldn't work as well, without her. As for Jones. His pantomime performance breathe life and humanity into this film's amphibian man; making it his most soulful, captivating creation yet. As for Shannon and Octavia Spencer, they gave solid support, along with Richard Jenkins as Giles, but neither performer is exactly covering new ground in their respective roles. In the end, 'Shape of Water' is still an incredible film, even with its many flaws. It's worth dipping into. So check it out!