Cronos

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.

When antiques dealer Jesús finds the legendary Cronos device within a statue he accidentally uses it. It feeds on his life force in exchange for eternal life. However wealthy Dieter and his nephew Angel also want the device and are willing to do anything to get it.

This is certainly a different vision of the vampire story, it dispels with a lot of the gore, the castles, Igor etc, but keeps the sunlight, the through the heart death etc. The story moves very slowly and is focused on Jesús and the devices' effect on him. His accidental transformation causes concern within his granddaughter and he finds that eternity has a price. The scenes between Jesús and Aurora are touching and make a nice change from the blood letting scenes.

The action is never really forthcoming and it is a little stilted in a way. Pearlman's character is a good addition to the story, but it does move so slowly that it may be a disappointment to those expecting a horror film. Luppi is good as Jesús, haunted by a gift he never wanted, Tamara is also strong as his granddaughter.

Overall it's an interesting retelling of a famous story. The direction is faultless although the story occasionally feels aimless and drifting.

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.

Mexican antique dealer Jesus Gris, finds an ornate mechanical beetle hidden in an old statuette, that once belonged to a 16th century alchemist. Unbeknownst to him, inside it there is an ancient parasite that gives the gift of immortal life. Also on trail of this device is an American millionaire who has spent his life researching the writings of this alchemist and has been searching for this mythical device, he will stop at nothing to get it. Gris stumbles onto the device and after using it, soon finds his features becoming more youthful, unfortunately the price for this is a raging bloodlust. Unique and at times surreal take of the Vampirism myth. Its also a very stylish and visually accomplished debut.

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.