Career Retrospective: Ranking the Films of Guillermo del Toro
Trademarks
Visual: Employs amber color
Visual: Gothic production design
Visual: Round designs (e.g., clocks, gates, entrances, symbols)
Visual: Practical make up effects
Visual: Clocks and mechanical designs
Themes: People are worse than monsters
Themes: Loss of innocence
Themes: Key paternal figure
Ideas: Love for grotesque creatures and insects
Ideas: Heavily influenced by Lovecraft
Setting: Hidden worlds within our world, underground areas
Frequent collaborators: Guillermo Navarro (7 films), Doug Jones (6 films), Ron Perlman (6 films)
Genres
Total gross worldwide
There is no need to introduce Guillermo del Toro to today’s audiences. An auteur with humble non English speaking beginnings (“Cronos” (1993)), del Toro evolved to a dark and horror fantasy behemoth of modern cinema.
Bringing an undeniable sense of visually superb films that place strong emphasis on grotesque creature designs and fairy tale worlds with A+ acting, del Toro has established his own school of filmmaking with an army of imitators following through. His “Cronos” he gave us an interesting (but flawed) take on the concept of vampirism, and since then he has embraced all kinds of repulsive (and in some cases misunderstood) creatures under his wing - even cockroaches! - starting with his botched Hollywood creature feature “Mimic” (1997) that laid the seeds for his future cinematic journeys: exceptionally meticulous production and costume design, macabre make up effects, a bizarre love for entomology (extended to monsters) and a heavily inspired Lovecraftian approach to storytelling. What is fascinating for a filmmaker of this creative caliber is his willingness to acknowledge his missteps along the way as a writer-director. With Cronos” and “Mimic” he learned how to tell a small and rather intimate story as well as to handle studio conflict.
For a man with a strong interest in these visually rich in lore concepts, he shows remarkable restrain on screen following the less is more approach, unless the occasion calls for it (e.g., “Blade II” (2002), “Pacific Rim” (2013), “Hellboy” (2004)) and even then he elects to reveal things slowly. However, he does pack artistic ambition demonstrated through a grandiose, detailed and exquisite production design that involves underground places (“The Devil's Backbone” (2001), “Hellboy”, ““Pan’s Labyrinth“ (2006), “Hellboy II: the Golden Army“ (2008), “The Shape of Water“ (2017)), sewers (“Mimic“, “Blade II”, “Hellboy”) and gothic houses (“Crimson Peak” (2015)).
Not shying away from realistic depictions of human relationships ( “The Devil’s Backbone”, “Crimson Peak”, “Nightmare Alley“ (2021)) that are not painted with a happily ever after brush or sudden shots of shocking violence (“The Devil’s Backbone“, “Pan’s Labyrinth”, “The Shape of Water“, “Nightmare alley”), del Toro understands how humans and the various supernatural and fantastical elements work together to influence a particular outcome. Following similar sentiments with “The Devil’s Backbone”, “Pan’s Labyrinth” and to some extent “The Shape of Water”, there is a wonderful blend of realism and fairy tale that does not bend the story to the traditional clichés of the related genres, unreluctant to lean on laughable violence incorporating tactics that work well with the set of rules that even extraordinary cases of supernatural elicit the thought of “it might happen”.
“Pan’s Labyrinth” is perhaps his most memorable film (the pale man is pure nightmare fuel) because it dealt with such grace its adult themes during the chaotic Spanish civil war populated with authentic characters that few films dream of having (Sergi Lopez’s performance as Captain Vidal deserves all the acting awards in the world) but it was “The Devil’s Backbone” that is often overlooked as its smaller cousin with similar concepts and a contained story that places front and center a small kid in an orphanage. Many would argue that it is his best film (or at least on par with “Pan’s Labyrinth”), an on screen vehicle that explores with finesse the loss of innocence while introducing a creative ghost design. At the hands of hacky filmmakers, it could have become a cheap and cheesy one liner scare fest that would add nothing new to the genre. And precisely that is the behaviour that separates del Toro from countless others: he finds humanity in monsters (Nomak in “Blade II”) and in his ruthless villains (Captain Vidal in “Pan’s Labyrinth”, Lucille in “Crimson Peak”) making them fully fleshed characters than filler obstacles.
Nevertheless, there are cases where del Toro approaches his material straightforwardly (“Mimic”, “Blade II”, “Hellboy”, “Pacific Rim“, “Nightmare Alley“) without creating convoluted just for the sake of entertainment plots or lame cinematic metaphors. Still even those efforts stand triumphant against a typical Hollywood blockbuster because they have something more to offer than eye candy filled with memorable character deaths, intriguing action sequences and catchy performances. “Blade II” took the vampire idea in shuttering new heights delivering a sequel that is bigger and better supported excellently by the fantastic duo of Wesley Snipes as Blade and Kris Kristofferson as Whistler.
In “Hellboy II: the Golden Army”, del Toro reached blockbuster peak combining his auteur fantasy ideas with expensive levels of action: his wire work (done by the great late Brad Allen) is the golden (huh!) standard that films of this type should have, his Prince Nuada moving with the flawless grace of a ballet dancer and becoming a fascinating villain under a justifiable motive while the production design made “Pan’s Labyrinth” looked like a child’s play. Even “Pacific Rim” which might be his weakest and most mainstream output to date bears some of his creative DNA, strongly felt in the creature designs (neon blood is a stroke of genius), the slightly macabre (“this one is pregnant!”) and the coherent directing of action sequences that could go toe-to-toe with Michael Bay’s “Transformers” (2007-2017).
Still, from handling large scale productions (“Hellboy II: the Golden Army“, “Pacific Rim“) to returning to his roots with more intimate stories (“Crimson Peak”, “The Shape of Water”, “Nightmare Alley“), del Toro is one of those rare filmmakers who have not been Hollywoodified by his success or his recent win at the Oscars, maintaining his status as a novel creative voice that does not bow to studio overlords (he declined after much fighting to do an adaptation of Lovecraft’s “At the Mountains of Madness” but Universal insisted to be PG-13 and to star Tom Cruise), establishing himself as a unique fantasy auteur among the today’s sea of mediocrity celebration.
11. Nightmare Alley (2021)
After a four year hiatus, del Toro returned to the big screen with an adaptation of William Lindsay Graham’s novel. Despite (as expected) a phenomenal production and costume design and an outstanding cinematography that embraces the baroque period of the 40’s and a superb supporting cast, “Nightmare Alley” suffers from a blunt and unlikeable protagonist, tremendous pacing issues that see the film cut into two disconnected halves and wasted exploration of potentially intriguing character dynamics. Bradley Cooper tries his best as the enigmatic stranger but his efforts are not enough to attract the audience’s sympathy or interest, making “Nightmare Alley” an empty vehicle for the beloved fantasy auteur.
Make up effects
👹
Monster designs
🎃
Villain
🧛
Prod. design
🏚️🏚️🏚️🏚️
Storytelling
📝📝
Fairytale level>
🧚
Acting>
👍👍👍👍
10. Pacific Rim (2013)
“Pacific Rim” is del Toro’s love letter to all those Kaiju (Japanese monster) films. Despite his valiant attempts to translate his monster passion in a mainstream vehicle, the script feels bogged down with unnecessary drama with the pace being all over the place. While the visually appealing behemoths and man made Jaegers duke it out in larger than life and stunning action sequences, these are few and in between large chunks of cliche dialogue with rather stereotypically portrayed characters that struggle to keep the interest up. “Pacific Rim” resembles a toned down appeal of del Toro’s love for the grotesque to attract a larger audience.
Make up effects
👹
Monster designs
🎃🎃🎃🎃
Villain
🧛
Prod. design
🏚️🏚️
Storytelling
📝📝
Fairytale level>
🧚
Acting>
👍👍
9. Mimic (1993)
“Mimic” on paper seemed the perfect movie to gross out anyone with fear or disgust towards the most hated insect on the planet - cockroaches. Botched during edit, del Toro declared that the final product does not represent his vision. Despite a somewhat improved director’s cut, “Mimic” still collapses towards the second half. There is much to admire here though. All of del Toro’s trademarks are present - a fantastic production design by Carol Spier (“Silent Hill” (2006)), giant insects, nature vs man, great atmosphere of dread and solid performances. Yet, these elements never come in together efficiently resulting in a film that remains half-explored.
Make up effects
👹👹👹
Monster designs
🎃🎃🎃
Villain
🧛
Prod. design
🏚️🏚️🏚️🏚️
Storytelling
📝📝
Fairytale level>
🧚
Acting>
👍👍👍
8. Cronos (1993)
A unique take on the concept of vampirism, “Cronos” shows remarkable restraint on murder and blood. Despite a misleading poster and promotional materials, “Cronos” is a more intimate tale of a antique store owner who finds a way to feel young again with unexpected consequences. Without high stakes, “Cronos” feels like a prelude to something bigger that never arrives. Nevertheless, Ron Perlman makes for a deliciously douchy henchman, del Toro’s fascination with insects and mechanical designs is in its pure infancy while the morbid transformation of an excellent Frederico Lupi has a strong visual appeal even after all these years.
Make up effects
👹👹👹
Monster designs
🎃🎃
Villain
🧛
Prod. design
🏚️🏚️🏚️
Storytelling
📝📝📝
Fairytale level>
🧚
Acting>
👍👍👍👍
7. Hellboy (2004)
“Hellboy” sadly arrived after the behemothic success of “Spiderman 2” (2004) with its relatively small budget, feeling anemic in comparison to the bombastic action sequences that Sam Raimi had crafted. A longtime dream of del Toro, his adaptation of Mike Mignola’s underground comic marvels at capturing the essence of its titular character both visually and emotionally. Ron Perlman IS the perfect Hellboy (under tones of convincing make up) surrounded by an army of bizarre creatures that bear exquisite detail (from undead Nazis to the infamous Russian monk Rasputin and various Lovecraftian inspired gods). Del Toro does not lose focus of his rather dark story and despite a weak final confrontation, “Hellboy” sees the Mexican director sitting comfortably within the realm of superheroes.
Make up effects
👹👹👹👹👹
Monster designs
🎃🎃🎃🎃
Villain
🧛🧛🧛
Prod. design
🏚️🏚️🏚️
Storytelling
📝📝
Fairytale level>
🧚
Acting>
👍👍👍
6. Crimson Peak (2015)
Despite an ill conceived campaign that marketed “Crimson Peak” as a bonkers horror story, this gothic tale focused more on a doomed romance rather than supernatural creatures attempting to murder and kill innocents. With exceptional production design and outstanding cinematography (by Danish Dan Laustsen), “Crimson Peak” does have its fair share of wondering ghouls around a pretty standard tale of love that places its weight towards the main acting trio. But it is Jessica Chastain who gives a totally gonzo performance as the unhinged Lucille (she also performed her own piano scenes) who steals the show even from the always reliable Tom Hiddleston. “Crimson Peak” might not score too high in originality but being complemented by competent acting and stunning visuals makes it a treat.
Make up effects
👹
Monster designs
🎃🎃🎃
Villain
🧛🧛🧛
Prod. design
🏚️🏚️🏚️🏚️🏚️
Storytelling
📝📝
Fairytale level>
🧚
Acting>
👍👍👍👍
5. The Shape of Water (2017)
A 50’s set fairytale involving a mute woman and a “fish”, “The Shape of Water” is a wonderful story of connection between two unique individuals in the conservative society of USA. Featuring a stellar (Oscar nominated) performance by Sally Hawkins, “The Shape of Water” has all the things del Toro has been known for, although not as amplified to avoid alienating a mainstream and more award inclined audience. Still it packs exceptional cinematography, great supporting performances (especially by Richard Jenkins) and bearing a love letter for 50’s Hollywood, “The Shape of Water” is undeniable a sweet movie for adults.
Make up effects
👹👹👹👹👹
Monster designs
🎃🎃🎃
Villain
🧛🧛
Prod. design
🏚️🏚️🏚️
Storytelling
📝📝📝
Fairytale level>
🧚🧚🧚
Acting>
👍👍👍👍
4. The Devil’s Backbone (2001)
“What is a ghost?” asks the tagline of the film’s poster. Taking an unusual route to present a ghost story on screen, del Toro’s return to Spanish speaking cinema (supported by Pedro Almodovar) after his disappointing Hollywood debut is a fantastic and saddening tale about the loss of innocence. Using an orphanage as the atmospheric setting for a supernatural plot during the Spanish civil war is an inspiring choice, while Fernando Tielve as the twelve year old orphan gives a grounded and realistic performance. Showcasing that humans can be worse than any ghoul or goblin that might be lurking underground, “The Devil’s Backbone” balances dread and tenderness through the mind of a young boy who only half understands what he is witnessing.
Make up effects
👹👹👹👹
Monster designs
🎃🎃🎃🎃🎃
Villain
🧛🧛🧛🧛
Prod. design
🏚️🏚️🏚️
Storytelling
📝📝📝📝
Fairytale level>
🧚
Acting>
👍👍👍👍👍
3. Blade II (2002)
Del Toro made “Blade II” one of the few sequels that surpassed the original at every level. Utilizing the fascinating architecture of Prague, he lets Blade (a spot on Wesley Snipes) loose with aggressive choreography, action sequences that do not shy away from OTT gore and a sense of twisted humor that surprisingly feel organic within this world. “Blade II” takes some bold steps in expanding the original’s mythology and attempts to characterize the toothed antagonists more bringing finesse to the proceedings even within the realm of comic book films. While the original felt more like a techno gothic horror film, del Toro’s decision to ground it into creature feature territory with the introduction of the Reapers, a new breed of vampires that eat everything in their path results in a excessively high body count and buckets of blood action fest that holds up remarkably well after all these years.
Make up effects
👹👹👹👹👹
Monster designs
🎃🎃🎃🎃🎃
Villain
🧛🧛🧛🧛
Prod. design
🏚️🏚️🏚️
Storytelling
📝📝📝
Fairytale level>
🧚
Acting>
👍👍👍👍
2. Hellboy II: The Golden Army (2008)
“Hellboy II: The Golden Army” is perhaps the perfect combination of del Toro’s artistic tendencies and blockbuster entertainment. Following the critical and commercial success of “Pan’s Labyrinth”, he is able to spend more money on his beloved red hero and craft a more personal tale with a timely environmental message. Prince Nuada remains a fantastic antagonist with a justifiable motive supported by incredible wire work by the great Brad Allen who created a superb fighting style that we have not seen before. The technical elements here are dazzling making “The Golden Army” a comic book coming to life in stunning detail, spot on humor and a plot that extends beyond the typical tropes of world domination. With a rating that pushes the PG-13 category, “The Golden Army” (similar with “Blade II”) eclipses the original at every level and establishes itself as thoughtful entertainment for the ages.
Make up effects
👹👹👹👹👹
Monster designs
🎃🎃🎃🎃
Villain
🧛🧛🧛🧛🧛
Prod. design
🏚️🏚️🏚️🏚️
Storytelling
📝📝📝📝
Fairytale level>
🧚🧚🧚
Acting>
👍👍👍👍
1. Pan’s Labyrinth (2006)
“Pan’s Labyrinth” remains after many viewings a perfect film. While it has a similar feeling with “The Devil’s Backbone” (e.g., a young protagonist, Spanish civil war setting), the former leans towards more supernatural horror elements. “Pan’s Labyrinth” on the other hand embraces fairytale elements for the journey of Ophelia. With an excellent supporting cast, hair raising moments and sudden shots of violence that prove that humans are indeed the worst offenders, “Pan’s Labyrinth” would be nothing if not for the phenomenal performances of Sergi Lopez as Captain Vidal. A despicable human (and stepfather to Ophelia) who thinks his brutal methods are entirely justified, Lopez gives him shades of morality that despite his monstrous behavior, there is still some humanity left. With incredible creature effects (look no further than the Pale Man) and wondrous production design, not only is a feast for the eyes, but is an expertly craft story that invoke a range of emotions once it is over. it is simply, a masterpiece.
Make up effects
👹👹👹👹👹
Monster designs
🎃🎃🎃🎃🎃
Villain
🧛🧛🧛🧛🧛
Prod. design
🏚️🏚️🏚️
Storytelling
📝📝📝📝📝
Fairytale level>
🧚🧚🧚🧚🧚
Acting>
👍👍👍👍👍