Guillermo del Toro’s (PAN’S LABYRINTH) CRIMSON PEAK is a loving, enthusiastic revival of the gothic novel much like what THE WOMAN IN BLACK was for Hammer horror. It is the late 19th century. At the center of the plot is Edith (Mia Wasikowska), the slightly eccentric daughter of a rich New York industrialist, the highly ambivalent character of Sir Thomas Sharpe (Tom Hiddleston), and his sister Lucille (Jessica Chastain) who is clearly up to no good from the start. The British siblings are searching for money in order to keep their estate and profits. When Edith’s father proves to be unyielding, they target his daughter. “Crimson Peak” is the Sharpe estate’s name and is a monstrosity. A huge flight of stairs leads to a drafty main hall and the defective oven doesn’t stand a chance against the snow falling through the dilapidated ceiling. Del Toro’s smartest idea was making the blood-red loam infiltrate all its nooks and crannies. The cursed monster is slowly drowning in blood. Wasikowska’s long blond wavy locks and her heavily pleated transparent nightgowns nicely contrast Lucille’s devil red robes. Nothing here is subtle, on the contrary, CRIMSON PEAK is a feast of excess, much like a gothic novel. The cruelty is drastic, the bad guys are unequivocally evil, and the good guys are positively angelic. The bloody, slimy CGI monster isn’t quite convincing and looks a lot like the creatures in THE DESCENT who were disgusting but not exactly creepy. The tragic relationship and family story at the center also leaves a lot to be desired. Nevertheless, it’s a very enjoyable watch.

Hendrike Bake (INDIEKINO MAGAZIN)

Translation: Elinor Lewy