The Shape of Water

It doesn’t hold as much weight now that the Golden Globes have already happened, but I predicted Guillermo del Toro would win best director at the Golden Globes. I think he’s still likely to win that award at the Oscars, but it’s a tougher road there. At the end I’ll talk more Oscars, but right now is for The Shape of Water.

            This is very much an arthouse film. For you young guns out there, all I mean by that is that this movie will be appreciated more by cinephiles. It has enough plot structure to be enjoyed above the surface, but it’s really looking for the focused to dive into the deep end to find the subtleties and metaphors about. I don’t find this to be a masterpiece of storytelling, but let’s simply look at its elements by themselves.

            The story builds up Sally Hawkins’ deaf character’s mundane routine as a janitor at a research facility for about the first 20 minutes. Although del Toro’s directing is at its most prominent, it also could’ve been shortened down a bit—especially when you consider the story that still has to be told. Also, to backtrack a bit, the very opening sequence is absolutely phenomenal—but anyways. Soon, a mysterious creature led by the always-evil Michael Shannon is transported to the facility for some testing. While everyone views it as a monster that has to be taken care of in some way or another, Hawkins starts to see the other side to the amphibious creature. I don’t think they ever specify what it is, but for all intents and purposes, let’s call it a merman. To avoid spoilers the plot follows this thread for a little over halfway, then it switches over to a different type of plot to finish the film out. Basically, it switches the main objectives of what needs to be done, and with the time it takes to properly develop each of these story elements, some of the added stuff I feel should’ve been cut down more: namely, the opening montage and actually getting to the reveal of the creature, and eating some lovely nasty pie at the shop (but I’m sure Richard Jenkins needed the boosted screen time to put him contention for a best supporting actor nod).

            Speaking of Jenkins, the characters are mostly good. Jenkins fills his role admirably, Hawkins is obviously amazing, Shannon is just playing the role he always plays, and Octavia Spencer turns in a great supporting role as Hawkins’ janitor friend. But with the exception of Hawkins, everyone is still second fiddle so that the merman can shine. The characters are all interesting and all developed, but they fill the necessary gap and not too much more. And in the hands of Pan’s Labyrinth (and Pacific Rim, but that doesn’t help the guy here) del Toro (who also wrote), the fantastical mythicalness of the merman shines through. It’s really quite a spectacle that fits perfectly within his realm of adult fairy tales.

            I think the other praise that has to be mentioned is the production design. If you actually take a look at everything like the apartment, the detail and thought put in in impeccable. It has the uphill task against the gorgeous Blade Runner: 2049, but I’d give production design to The Shape of Water. To wrap it up a bit, make sure to pay attention to every form of water throughout the film because, well, there’s a lot of it. It’s a solid film with a true marvel in the merman creature, but it’s not necessarily the best film out there. Now, whether related to or not (but with 13 nominations, it’s in most of the categories anyways), let’s get some Oscars predictions in. Keep in mind that I’m watching Three Billboards Outside Ebbing, Missouri tonight, so I can only use intuition right now when judging that film.

Best Picture: There’s only 4 nominees I haven’t seen yet—including Three Billboards—but I don’t see any of the other films taking down Three Billboards. I’d personally consider something like Dunkirk, but the next best shot is probably in fact The Shape of Water.

Leading Actor: I think the obvious choice is Gary Oldman, and as good as his performance was, I’m gonna go with Daniel Day-Lewis just because you don’t vote against that guy. I will say I’m really happy with the Daniel Kaluuya nomination—the film was good enough, but he really did give a great performance.

Leading Actress: Again, haven’t seen it yet, but it would be tough to vote against Frances McDormand. Hawkins is right up there. I’ll let my dark horse be the lovely Saoirse Ronan (who I have to look up every time to make sure I’m spelling the first name right).

Supporting Actor: I’d be really happy to see Sam Rockwell win. Christopher Plummer gets the dark horse vote just because of the story behind it all.

Supporting Actress: From the looks of it, Allison Janney is a runaway for it.

Animated: Coco is going to win, but Loving Vincent will at least make it interesting. Still upset that Ferdinand and especially Boss Baby are in instead of the likes of The Lego Batman Movie and the underrated Cars 3.

Cinematography: Has to go to Blade Runner: 2049. I will say I was surprised by how much I enjoyed the cinematography in Darkest Hour.

Costume Design: Heck, actually haven’t seen it, but let’s go with Beauty and the Beast.

Director: As happy as it would truly make me to see Christopher Nolan finally win an Oscar for himself, I think del Toro has him beat.

Editing: Dunkirk has the best chance at winning an Oscar in this category. Also feel a bit bad admitting this, but still haven’t seen Baby Driver, but that could be dark horse.

Makeup and Hair: Haven’t seen it, but let’s say Wonder.

Original Score: I feel that he wasn’t really deserving of it for The Force Awakens, but I loved what John Williams did for The Last Jedi. Considering it’s mostly just that super intense pocket watch ticking, I don’t see Hans Zimmer winning.

Original Song: Lots of my friends will probably be rooting for “This is Me,” but I’ll stick with Coco with “Remember Me.”

Animated Short: Lou was really good, but here’s to hoping Kobe wins an Oscar.

Sound Editing and Sound Mixing: I always mess up which one is which, and I’m too lazy to look up the difference again right now, so let’s just give one to Dunkirk and one to Blade Runner.

Visual Effects: Really enjoyed the whole trilogy, and I honestly kinda wish Andy Serkis got like an acting nod, but Blade Runner has to run away with this. The effects are bounds ahead of everyone else, and they were truly stunning to see on the big screen.

Adapted Screenplay: I’m only giving my dark horse which is Molly’s Game because that’s the amazing Aaron Sorkin.

Original Screenplay: Pick ‘em.

            If you can’t believe one of my choices or are just curious, leave a comment below and I’ll be happy to explain more as to some of my Oscar choices. Got more reviews I should have coming. Like I watched Black Panther yesterday, so I’m sure that would make for an interesting review. Will consider Three Billboards as well after I watch it tonight. Got other surprises on the way because who doesn’t love a good M. Night Shyamalan like plot twists?