Crimson Peak

Year: 2015
Genre: Horror
Director: Guillermo Del Toro
Stars: Mia Wasikowska, Jessica Chastain, Tom Hiddleston, Charlie Hunnam, Jim Beaver, Doug Jones
Production: Legendary Pictures

Long gone are the days when the versatile Guillermo Del Toro reached the apex of his horror writing and directing. The Devil's Backbone (2001) and Cronos (1993) are completely out of the public consciousness, their fresh and economic twists on intelligent horror films a relic of their time. Yet Del Toro's public persona is one that still bores into our perception. The mere mentioning of his name conjures the spooky atmospherics of Pan's Labyrinth (2006) and the television phenomena The Strain (2014-Present). In short, to the masses, Del Toro equals horror. So why then is Crimson Peak, his newest directorial effort such an underwhelming disappointment? Well maybe it's because it's not a horror film.

Crimson Peak opens with a young Edith Cushing (Wasikowska) staring into the middle distance. There's a bellowing blizzard, damp blood red clay penetrates through the snow and there's a deep cut on her cheek, the kind of cut we see on heroes who have seen heavy things yet the makeup artist still wants them to look good. After a brief prologue which flashes back to Edith's childhood, we arrive in Buffalo, New York. Edith is an aspiring writer who catches the eye of the handsome but mysterious Baron Thomas Sharpe (Hiddleston). They marry hot on the heels of a family tragedy and she's transported to Crimson Peak, his estate in England where all is not as it seems. Also catering to the atmosphere is Lucille (Chastain), Thomas's cold and domineering sister.

Personally, if I were from the House of Usher, I'd sue

Starting with the good, the film is at many times a marvel to look at. The period detail bursts from the screen and the color schemes, especially during the haunted mansion scenes are jarringly beautiful. The film couples its filigree with the intensity of Dan Lausten's slick cinematography which cushions the film's slower moments with dynamic camerawork. Additionally there are nuggets of advertence signalling to better stories by Daphne du Maurier, Edgar Allan Poe, Anthony Berkeley Cox and Charlotte Bronte. Personally I found the parallels to be less of homages and more blatant rip-offs, but I suppose one man's imitation is another man's emulation. Based on images alone one can almost forgive the film's faults...almost.

Years of subjecting himself to Hellboy fandom has probably made Del Toro comfortable with condescending to the audience. The screenplay isn't just cliche as it is aggressively banal with the creators tipping their hand and answering questions the audience hadn't yet asked. In case your mind was wondering too far from the screen to pick up less than subtle visual cues, all information is regurgitated by lesser characters like week old cud. Things made dull are shrouded in mystery while things meant to be mysterious simply aren't. The only mystery I was looking to solve was why would twice nominated Academy Award nominee Jessica Chastain pick such a project. Then again she did do Mama (2013), so maybe she has an affinity to trivial horror.

In reality all stars will likely survive this film unscathed but at this point Del Toro has become a slave to his own style. Del Toro and Hiddleston both have been attending press junkets and doing late night interviews insisting Crimson Peak is less of a straight up haunted house film and more of a Gothic romance. Right; this is despite the studio's marketing strategy squeezing every jump scare and ghastly ghoul into the trailer. I suppose they have to recoup $30 million budget somehow. I personally knew I was in a long slog five minutes in when Edith explains to a would be publisher "It's not really a ghost story, the ghost is more a metaphor." It certainly was a metaphor. A metaphor for boredom and awkward, fan service for Tom Hiddleston necking.

Final Grade: D-