Cronos

Guillermo Del Toro's stylish and original take on the vampire legend is one of the most strangely overlooked and underrated films of the 1990's. It's films like this that make me want to watch films - films that are fresh, unpredictable and so rich in symbolism that it has leaves lots of room for discussion. Del Toro was little more than an amateur director at the time this made, but in spite of that he's more than given the professionals a run for their money. Every scene is adeptly filmed, and the way that Del Toro makes contrasts between locations and the two central families is a pleasure to observe. The way that the film switches language from English to Spanish and back again is indicative of the fact that this is a rich tapestry of contradictions and one that makes intelligent comments on many subjects, from obvious ones such as addiction, to more concealed ones, such as a commentary on family; stemming from the way that the roles of child and parent become reversed when our hero becomes afflicted with the vampire-like curse.

For the story, Del Toro has taken the classic vampire theme and mixed it with essences of mechanics and the human lust of being able to live forever. The story follows Jesús Gris, an antique dealer that lives with his granddaughter Aurora and wife Mercedes. One day, our hero happens upon a mechanical scarab that latches itself onto his palm, causing him to bleed. Jesús slowly gets addicted to the mystical scarab, but there's someone else that wants it and will stop at nothing to get it. The mythology of the scarab is told in a great opening sequence that sets the viewer up for an intriguing and original horror story. The film retains the intrigue that it sets up in it's intro for the duration, and Del Toro ensures that his audience is always left guessing and wanting to see what comes next. The film works due to interesting characters that the audience is able to feel for, and is constantly interesting by the way that Del Toro handles the contrasts that the story presents.

On the whole, this is a fabulous horror story that takes an existing legend and makes it it's own. This is exactly the sort of film that cinema needs more of; and it's not one that film fans will want to miss. Highly recommended viewing.

This is apparently Guillermo del Toro's first full-length film and while it's a bit rough, it also is highly creative and different. However, because it is so visceral, bloody and violent, it is NOT a film for everyone.

"Cronos" begins with an odd prologue. It seems that centuries ago an alchemist came up with some strange device--and it was able to bestow eternal life.

The film now switches to the present. An old man and his granddaughter have found a weird metal device--the same one created by this alchemist. However, they have no idea what its purpose is and how to make it work. By accident, the old man is able to activate it-and it pierces him--causing a lot of pain and blood. Oddly, however, he soon begins to feel better and look younger--and feels a strong need to try the device again.

In the meantime, a rich and nasty old sick guy has somehow found out about the device the old man's discovery--and he's sent his sociopathic nephew (Ron Perlman) to get that device.

There is LOTS more to the story than this---and it gets really weird, violent and bloody. However, I saw it described as a 'vampire' movie and this really is a MAJOR over-simplification. There's a lot more to it than this--and you just have to see it to understand. I won't say more--you'll have to see it...really.

The film is wildly creative and cool, but as I said, it's not for everyone. It's not exactly a horror film in the traditional sense and it is excellent.

By the way, what's with Ron Perlman? He's carved out an interesting niche appearing in the oddest assortment of international films. Now I am NOT complaining--just marveling at his film projects as they are so incredibly varied. Here, he's in a Mexican film but he's also done French films ("City of Lost Children"), films about the Russo-German conflict in WWII ("Enemy at the Gates")...and the Hellboy films! Talk about a man of multi-talents!

Some of the most imaginative films originate in Mexico. This one is no exception. When Jesus Gris, an old antique dealer opens the base of an ancient statue, a golden object in the shape of a large beetle drops out. This mechanically activated object can clutch a human arm and inject a magical fluid which can prolong life. The early scenes, when the camera moves about the treasures in the antique shop, set the atmosphere and draw us into the story. Each piece seems to hold a special secret. When the mechanical beetle suddenly grabs at the old man's forearm, we can feel the excruciating pain as he screams out and we see the pointed legs piercing his skin. Then follows the injection by the scorpion-like tail. Terror reigns until he dislodges the device. (What a relief!). Now wait for the miracle to happen! Excellent make-up on the main character as this horror story unfolds makes it almost believable at times. The sincerity of the acting between the old man and little granddaughter who plays about the shop makes for a really warm and loving relationship. (Where do they find such wonderful child actors?). Evil is portrayed by the cruel Dieter de la Guardia and his henchmen who set out to steal this ancient invention of the alchemists. Much of the excitement of the film is provided by a chase through upper rooms and rooftops (real edge of the seat viewing!). One of the most unforgettable scenes is the close-up view of the whirring golden cogwheels inside the device. They make a cruelly fascinating and threatening sound as they wind up to do their mysterious work. Movie-goers who have a horror of hypodermic needles should perhaps give the film a miss but you brave ones will enjoy the age-old theme of searching for the secret to eternal life.

Severely underrated on this website, Cronos is an engaging tale that captivates the viewer for the entirety of its duration. Guillermo Del Toro's first ever film is a thoughtful, heart-wrenching story which above all manages to be fresh, intriguing and unique while managing to captivate the feel of horror films in the same mould as The Shining, whereby it is a film about family first, and a horror film second.

Cronos is most definitely not associated with the slasher end of the horror market and nor is it anywhere near the filthy attack on the sense provided by goreography. What Cronos manages to achieve is an attack on the mind and the soul, the essence of what a horror film must succeed in doing if it wishes to leave a lasting impression. Given this I can, to an extent, see where the mediocre rating has derived from, it's not a blood fest it doesn't provide a scare a second and nor does it have gratuitous scenes of eyes being gauged out by rusty pick axes, but as every true horror fan knows is these are merely sideshow attractions to the superior horror films like The Shining, like The Fog, and Cronos if not completely at the top, is very close indeed.

There are three things which notably stand out about this film and make it undoubtedly worth watching. The most subtle is the commentary on US-Mexico relations that Guillermo Del Toro has littered throughout his film. It provides an interesting portrayal into how he, and undoubtedly many Mexicans, feel about their encounters with the US, that they are always trying to be dominated and they must stand up on their own, to strive to succeed. The most obvious is that of the highly notable Christian references and intentional name play. Our protagonist, the antique dealer, is named Jesus for simple reincarnate issues, but there a great deal of "my God", "my Lord" and more comments of that ilk in the film, there is undoubtedly a side plot on the directors behalf of pointing out the good that still emanates from our protagonist. Jesus' granddaughter and wife are named Aurora and Mercedes respectively, and by knowing the meanings of their names which are "the dawn or first light" and "mercy" provides the films finale with a sense of completion. Lastly of note is the acting on the part of Federico Lupi and Tamara Shanath, who provide the necessary gravitas even in motion if not through vocals to convey the deep emotional tie between grandfather and granddaughter which when all else is removed is the main driving force of this story, and the one that will have you coming back for more. It's innocence is soul-wrenching, yet Aurora's ability to see what is happening with unclouded eyes, provides the cornerstone for the emotional drama to take hold.

One critic in 'The Daily Telegraph' claimed this to be as "scary as hell", and to be honest he is wrong. This film isn't scary in the 'popping out from behind the bushes with a meat cleaver' manner, this film is an attack of that which makes us, and indeed Jesus, human. It is a cerebral assault which plucks at your heart strings and confuses the soul, and for it is severely likable and very watchable while occasionally disconcerning. Cronos is human drama at its most wonderful, emotional and chilling and more importantly a wonderful debut by a director who will build in stature and promise greater things, but this is a debut with bite to it, and once it grabs hold of you, it's very difficult to get it off.

I can't think of many 90's films that will be remembered as classics of the horror genre, this film is an exception.

When you think of Mexican horror, you no doubt think of the El Santo Vs. the Aztec Mummy type films made in the 60s, don't get me wrong, I like them too. In interviews, director Guillermo Del Toro has said that his influences come more from American and British horror (such as the classic Universal and Hammer horror films) than from Mexico's horror tradition. Still, the film does have a distinctly Mexican sensibility, especially with it's abundance of Catholic imagery.

First time director Del Toro, cinematographer Guillermo Navarro (who would go on to do great work for Robert Rodriguez and Quentin Tarantino, among oth ers), and production designer Tolita Figuero create a very unique, interesting look for the film.

All of the actors are great, especially veteran Argentinian actor Federico Luppi, who plays the main character Jesus Gris, and Luis Bunuel's favorite Mexican actor Claudio Brook, who plays Dieter De La Guardia. What really makes the film for me is it's quirky sense of humor and odd characterizations, I found scenes toward the middle of the film to be hilarious. The effective, subtle, score by Javier Alvarez also adds to the mood of the film.

The film also manages to be a very different kind of vampire story than usual, It makes me think a little bit of the "Wurdulak" segment of the great Mario Bava's film Black Sabbath. Vampire films of late have become very tiresome, it's nice to see someone take a different approach.

I think Guillermo Del Toro is a talent to watch for.