Guillermo del Toro is consistently an intriguing director. He first caught my attention with Blade II in 2002. Since then, I’ve followed his work, appreciating Hellboy, Pan’s Labyrinth, Pacific Rim, and his earlier films, Mimic and Cronos. Del Toro was originally slated to direct the Hobbit films, and I maintain that his vision would have surpassed Peter Jackson’s ultimately uninspired interpretations. Prior to its release, The Shape of Water generated considerable buzz. I missed its theatrical run and awaited the Blu-ray release. Boasting four Oscars and nine additional nominations, one would expect this to be among the year’s best films. But does it live up to the hype?
The introverted and mute Elisa Esposito (Sally Hawkins) holds two positions: she assists Giles (Richard Jenkins), a homosexual and somewhat melancholic graphic artist, and she works night shifts as a cleaner at a clandestine research facility. Her nocturnal employment is usually uneventful, until an extraordinary event occurs. A mysterious amphibious creature (Doug Jones), capable of breathing both underwater and on land, is brought in and contained within a tank. No one has encountered anything similar before. Elisa soon establishes a connection with the creature. It displays no hostility towards her, only towards the cruel Strickland (Michael Shannon), who inflicts brutal torture upon it. Elisa resolves to save the creature at all costs, and her feelings for it intensify.
Firstly, I want to acknowledge the film’s strengths. Visually, it is exceptional; every detail is meticulously crafted. The sets, costumes, and visual effects are all impeccably executed. The cinematography by Danish photographer Dan Laustsen is stunning, with each shot resembling a meticulously crafted painting. Consequently, the Ultra HD (4K) version of the film is a definitive demonstration of the format’s capabilities (assuming your display supports 4K and HDR). The Blu-ray edition also offers a pleasing viewing experience, with excellent sound and a crisp picture that amplifies the film’s visual impact. While ample supplementary material is included, it lacks in-depth analysis, and a commentary track is notably absent.
Beyond the visuals, I find myself struggling to offer much more praise, as I ultimately found the film underwhelming. In essence, it is a mature-themed iteration of E.T. The film certainly attempts to push boundaries with unconventional scenes. However, it ultimately feels somewhat contrived. Guillermo del Toro previously surpassed this achievement with his masterful Pan’s Labyrinth, released 12 years prior, where he masterfully created an immersive and emotionally resonant experience. In The Shape of Water, Elisa’s affection for the creature, its origins, and its profound intensity, are not adequately conveyed to the audience. While she attributes it to his acceptance of her muteness and perceived otherness, her circumstances do not seem exceptionally unusual or isolating. She maintains friendships with Giles and her cleaning colleague Zelda (Octavia Spencer). These companions actively support her, yet she inadvertently endangers one with potential murder and abuse, while the other suffers bathroom destruction and faces potential eviction. Furthermore, Giles loses a cat.
Because I find Elisa’s circumstances and struggles unconvincing, the central love story lacks resonance. In E.T., I was deeply moved by the plight of the dying animatronic alien and invested in the efforts to save him. In contrast, despite Doug Jones’ masterful performance in a remarkable costume capable of conveying a wide range of emotions, I felt detached. I found myself almost empathizing more with the antagonist, Strickland, whose motivations were at least comprehensible.
Sally Hawkins is a talented actress, but the screenplay is unfortunately weak and relies too heavily on a sequential “this happens next” structure, resulting in a lack of logical flow between events. Michael Shannon delivers a compelling performance as Strickland, momentarily redeeming himself after his underwhelming portrayal of General Zod in Man of Steel. Richard Jenkins is also commendable as Giles, but his character’s choices are questionable, and an awkwardly humorous subplot involving Key lime pies feels tonally dissonant with the rest of the film.
In conclusion, I disagree with the widespread acclaim surrounding The Shape of Water. Stripped of its exceptional cinematography, production design, and the central premise of a human-fish creature romance, the film feels emotionally vacant and lacks genuine excitement. While the potential for a compelling noir film existed, the execution feels contrived and ultimately falls flat. The film receives a middling rating due to its sporadic moments of brilliance, which are ultimately overshadowed by its overall mediocrity.
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