Tag: Guillermo del Toro

I saw Guillermo del Toro’s “Frankenstein” today, in a screening room packed with critics. I’m very glad I did see it on the big screen because it is only going to play in theaters beginning October 17th through November 5th and then will head to Netflix on November 7th.

I am going to share some personal history with the Writer/Director of this amazing project, Guillermo del Toro, and with the lead actor, Oscar Isaacs, who plays Victor Frankenstein. After these two personal bits of my own film history over the 55 years I’ve been reviewing, you get a synopsis of the press notes that testify to the amazing effort this film represents, from having actually built the ship that is featured in one section to the color schemes and what they represent. Fascinating stuff.

But first, a couple of true stories.

Oscar Isaac and me in 2013 at the 49th Chicago International Film Festival, as the 61st Chicago International Film Festival is about to kick off tomorrow (Oct. 15-26, 2025.)

Back in 2013, Oscar Isaac was an unknown, coming to Chicago to promote the Coen Brothers film “Inside Lleweyn Davis,” which co-starred Carrie Mulligan. He was the nicest, most cordial, pleasant star I’ve met since 2008. Somehow, hours after the film screened (and became his break-through film) I was at the post-party at the City Winery, if memory serves, in Chicago. He was so kind and thoughtful and nice to me that I became an instant fan.

You just knew that someone this nice and this talented, the Julliard graduate who did all of his own playing of the songs in that film, a true talent, was going to go far. He was 34 years old. Oscar is 46 today and is still five feet, eight and one-half inches tall, versus Jacob Elordi’s freakishly tall (by comparison) six feet five inches.

The year that Guillermo del Toro came to town for the Premiere of “The Shape of Water,” which I absolutely loved was 2016. He came with his good friend and frequent collaborator Ron Perlman. Again, there was a party somewhere, which, in those days, Press occasionally lucked into (not any more).

He, too, was such a nice, kind gentleman. My favorite moment was when he was being ushered down the Red Carpet. I had published a collection of reviews from a “real” newspaper ( Quad City Times) entitled “It Came from the 70s: From The Godfather to Apocalypse Now.” Knowing of his fondness for monsters and with an emphasis on horror films of the decade I gifted him with a copy. [I had been writing a novel trilogy entitled “The Color of Evil” and was, at that time, an active voting member of HWA]. He was genuinely enthused to receive the book, so much so that he stopped dead in his tracks and did not budge in his progress down the Red Carpet. His handlers returned to guide him.

At that point, one of those assisting him noticed his shoe was untied. Guillermo said, “Oh, no! Fat man with untied shoe!” and laughed while his handlers assisted him in retying and moving down the Red Carpet. Later, at the after-party, he was very genial and kind and nice. I can’t say that of all talent who have walked the Red Carpets.

Oscar Isaac in 2022.

Both are huge talents who know what they are doing and do it well. In the case of Guillermo’s films, you can tell that no effort or expense has been spared. That remains true of this version of “Frankenstein.”

Below are some of the Press Notes (synopsized) from the 2025 new version of “Frankenstein.” Guillermo has envisioned a super-strong “Frankenstein” with Terminator tendencies. “Frankenstein” will show at the Music Box Theater at 6 p.m. on Friday, 10/17, and again on Monday at the New City AMC (10/20) at 1:30 p.m. See it on the big screen, if you can. “Bravo!” once again to these two formidable talents. There will be many costume and set design Oscar nominations and it will qualify for most of the other Oscar categories, as well, so don’t miss it in its big-screen glory.

Tomorrow night, at the iconic Music Box Theater, the opening film of the 61st Chicago International Film Festival at 6:30 p.m. will be “One Golden Summer” about the 2014 Chicago Jackie Robinson West Little League team that became the first all-Black team to win the U.S. Little League Baseball Championship.

PRESS NOTES FOR “FRANKENSTEIN”

This sprawling epic takes audiences from the remote reaches of the Arctic to the bloody battlefields of 19th-century Europe, as Frankenstein and his Creature go on their own search for meaning in a world that can seem quite mad. Also starring Mia Goth as the luminous Elizabeth and two-time Academy Award®-winner Christoph Waltz, Guillermo del Toro’s “Frankenstein” is a reminder of how, at heart, we are all creatures, lost and found.

I was given this Oscar Isaac doll for Christmas, the year he appeared in the “Star Wars” episodes, because my family likes to give me a hard time about my chance encounter with Oscar Isaac.

Oscar Isaac stars in the new adaptation of Mary Shelley’s classic sci-fi/horror novel as Victor Frankenstein, with Jacob Elordi as The Creature, Mia Goth as Elizabeth Harlander, Christoph Waltz as Heinrich Harlander, and Felix Kammerer as William Frankenstein.

“I’ve lived with Mary Shelley’s creation all my life,” del Toro says. “For me, it’s the Bible, but I wanted to make it my own, to sing it back in a different key with a different emotion.”

Since making his feature film debut with 1993’s Spanish-language vampire tale “Cronos,” the visionary writer-director has repeatedly conjured visually stunning, magical stories, all of which celebrate the beauty that can exist within darkness. With such films as “The Devil’s Backbone” (2001), “Hellboy” (2004), “Pan’s Labyrinth” (2006), and “The Shape of Water” (2016), del Toro has forged a reputation for a nuanced portrayal of all types of beings — be they monsters and demons, ghosts, or even an amphibious river god saved from extinction by a mute cleaning lady.

“Ever since I was a kid, since my first Super 8 movie to now, I’ve dreamt of making two movies, “Pinocchio” and “Frankenstein”… I thought we were telling the same story: what it is to be human, what it is to be framed in a life by eternity and death, both forces. I wanted to make Frankenstein as personal as it could get.”

Having spent decades contemplating his vision, del Toro had a fully conceived approach to the film, which he set against the backdrop of the Crimean War. After undertaking an extensive scout across Europe to find the most ideal settings for the project, he began filming “Frankenstein” in Toronto in early 2024, later visiting numerous sites in the UK for location and miniatures filming.

Oscar Isaac as Victor Frankenstein in “Frankenstein” directed by Guillermo del Toro.
Photo Credit: Ken Woroner / Netflix

The House of Frankenstein is actually four different residences: Gosford House in East Lothian, Scotland; Burghley House in Lincolnshire, England; Dunecht House in Aberdeenshire, Scotland; and Wilton House in Wiltshire, England. The elaborate staircase at Wilton House is also used and Stanley Kubrick filmed in one of the castles used, which gives it a special prominence/significance.

During the 100-day shoot, del Toro pored over every detail with thoughtfulness and passion, rooted in love and respect for Shelley’s novel. “The subject matter is humanistic,” says producer J. Miles Dale, who also collaborated with del Toro on “The Shape of Water” and “Nightmare Alley,” among other projects. “This is existential, about life and death. When you talk about legacy movies, this is that for Guillermo. Having been on his mind for most of his life, he’s seen this movie in his head — we’re not leaving anything on the table in terms of what we’re doing, who we’re doing it with, how we’re doing it, and what the result will be. We wanted to make an old-fashioned, beautiful production of operatic scale made by humans.”

This culminates a cycle — operatic, ornamental, camera moving very precisely — all those things [are] out the window from now on a little bit, at least is how it feels.

THE MONSTER

Jacob Elordi plays the monster. His head and shoulders alone required 12 separate, overlapping silicone rubber appliances — additionally, Elordi’s eyebrows were glued down and a bald cap was placed over his hair. The actor is 6′ 5″ and del Toro wanted a tall creature (which he got).

ALEXANDRE DESPLAT SCORE

“To have a good score,” Desplat says, “you have to find the soul of the film and create another dimension of sensation, of poetry, of spirituality, that follows the film and amplifies the emotions.”

LIMITED RELEASE IN THEATERS UNTIL NOV. 5 (On Netflix Nov. 7^th)

The film is only playing in theaters from October 17 – November 5, which would make sense given it’s coming to Netflix just two days later. It is in limited release in major cities, only. If you’re not near a big city, good luck in finding this visual feast to see it on a big screen, which is definitely the best way for a movie like this, if only for the fantastic costuming.

Said one reviewer,“Frankenstein is absolutely breathtaking, with imagery and set pieces that instantly embed themselves in your memory. It showcases del Toro’s strength as a filmmaker, creating immersive worlds that enhance what he does best: championing monsters and their tragic humanity instead of using them to scare us.” (“Bloody Disgusting” review).

“Frankenstein” was the second favorite audience favorite (runner-up) at TIFF in Toronto. What beat it? This year’s winner, and the first filmmaker to take home two People’s Choice Awards, was Chloé Zhao for her “Hamnet,” which is also playing in Chicago. (The filmmaker previously won in 2020 with her “Nomadland.”)

Count me as liking this beautiful film a lot. Specific observations after October 17^th.

60th Chicago International Film Festival: A Stroll Down Memory Lane – 21 Years of CIFF

By Connie Wilson

On October 13, 2024

In Movies, News, Of Local (Quad Cities') Interest, Pop Culture, Reviews

My first memory of attending a Chicago International Film Festival was 2003’s “The Human Stain” at the Chicago Theater. The film was miscast from the get-go, featuring Anthony Hopkins as a (secretly) Black man and Nicole Kidman as a washer woman. I went to school with Nicholas Meyer (“Time After Time,” “Star Trek II: The Wrath of Khan”) at the University of Iowa, who wrote the screenplay based on the Philip Roth book. [In fact, he dated my roommate.] Robert Benton directed. The film had problems, not the least of which was being badly miscast. The fun part of the night was watching Harold Ramis come down the aisle and take his seat. Leonard Maltin said it was “An exceptional film.” I agree with that. It was exceptional for all the wrong reasons. It reminds me of the couple whose wife sent her spouse a bouquet of balloons with a card that read “Thank you for 20 Interesting Years.” You can take adjectives like “exceptional” and “interesting” and interpret then any way you want. Remember that trick (from a wordsmith with over 6 decades of published writing).

“The Human Stain” was 21 years ago.

“It Came from the 70s: From The Godfather to Apocalypse Now”

I began writing print reviews in the Quad City Times in 1976 with “Lipstick,” a film featuring the Hemingway sisters, Margaux and Marielle. A book emerged: “It Came from the 70s: From The Godfather to Apocalypse Now.” The book contained my reviews of some of the best films of the decade, with interactive trivia and answers on the following page, upside down. It was published by a small Rhode Island press in 2016, long after my reviews went from real newspapers to digital, initially for Associated Content, for which I also covered politics during the Iowa primaries of 2000, 2004, 2008 and 2016. (Yahoo Content Producer of the Year for Politics in 2008). After my first CIFF in 2003, I attended and wrote reviews that appeared on Associated Content and other defunct digital outlets. I remember reviewing 2008’s “Synecdoche” and Steve McQueen’s “Hunger.” I started blogging (www.WeeklyWilson.com) at my own blog in 2007 and began writing for www.TheMovieBlog.com soon after that.

2010: I met Alan Cumming, Guillermo del Toro and Forest Whitaker on the Red Carpet. Guillermo was also accompanied by his long-time friend Ron Perlman and were very kind and friendly at the after-party. Alan Cumming was not interested in speaking with those of us on the Red Carpet, but Guillermo could not have been nicer or more charming. I gifted Guillermo del Toro with a copy of “It Came from the 70’s.” He did not want to move on down the Red Carpet and began leafing through the book. At that point, he noticed that his shoe was untied and said, “Oh, no! Fat man with untied shoe,” and laughed. His handlers came and hurried him down the runway. Forest Whitaker was delayed for a very long time when his suit had to be pressed. He was much trimmer and smaller than he appeared onscreen.

Connie Wilson, film reviewer, at the AMC on lower Illinois

At the former AMC Theater headquarters.

2011: Claude LeLouch (“A Man and A Woman”, 1966) attended. He was accompanied by Valerie Perrine, to whom he has been married since June 13, 2023. Perrine is LeLouch’s fourth wife (He was divorced from wife #3 in 2009). LeLouch was 74 in 2011 and is 86 today. In 1975, Perrine was nominated for the Academy Award for Best Actress ^[⁴^] and the Golden Globe ^[⁵^] for Best Motion Picture Actress (Drama) and won the Best Actress Award at the Cannes Film Festival for her role as comedian Lenny Bruce‘s wife, stripper Honey Bruce, in Bob Fosse‘s Lenny (1974). I recognized Valerie Perrine instantly. She was then 68 years old and as beautiful as ever. She was diagnosed with Parkinson’s Disease in 2015. Another interesting Perrine fact is that she was the first to show her nipples on television (and did a fair amount of nudity on film) and that she was to have been hairdresser Jay Sebring’s date at Roman Polanski’s home (which belonged to Terry Melcher, son of Doris Day) the night that the Manson family attacked and killed the residents, including the then-pregnant wife Sharon Tate on August 9, 1969. (She couldn’t go at the last minute). “The Last Rites of Joe May” featuring Dennis Farina was the Opening Night film. Farina brushed past anyone with a still camera to head directly towards the television cameras present, but Gary Cole (a co-star) was very gracious and spoke with us all.

Gary Cole at the AFS gathering of Risky Business' anniversary

Gary Cole (Photo by Connie Wilson).

2012: Al Pacino, Christopher Walken and Alan Arkin showed up for the premiere of “Stand Up Guys.” Lana and Lily Wachowski showed up for “Cloud Atlas.” Helen Hunt was present and was terrific in “The Sessions.” “Holy Motors” came to us from Cannes with talking cars, which was not my favorite. Cannes’ films have a different sensibility, and this one certainly did.

Michael Shannon.

2013: Bruce Dern showed up with “Nebraska.” He told a very funny story about working with Alfred Hitchcock, who got stuck in his chair when he attempted to rise. Dern was then 78 (he’s now 88) and was not as mobile as in his prime, but he is still working today. Oscar Isaacs had his breakthrough role in “Inside Llewyn Davis: that year and was one of the nicest celebrities I’ve met, especially at the after party, where he chatted very sociably. Dario Argento was also in town for the festival and “The Immigrant” screened. Michael Shannon was there, and often is, which is a wonderful addition, always.

Haskell Wexler gave a presentation about his directing of films beyond 1969’s “Medium Cool.” He was instrumental in George Lucas going to film school. Wexler, a Chicago resident, is one of the 10 most influential cinematographers in Hollywood history. I’ll never forget seeing him covering the 2012 NATO demonstrations (with his granddaughter handling the camera work) in Grant Park when he was 90. Wexler won Oscars for his cinematography on Who’s Afraid of Virginia Woolf? (1966) and Bound for Glory (1976) and over the course of his 60 years behind the camera and worked with directors as diverse as Mike Nichols, John Cassavetes, Hal Ashby, John Sayles, Elia Kazan, Norman Jewison, Tony Richardson and many more. He was a well-known liberal activist and did documentaries that supported his views, which I admired. He also has the distinction of having been fired by Milos Forman and Francis Ford Coppola.

Haskell Wexler, 90, and me in 2012 in Grant Park at NATO demonstrations

Famed cinematographer Haskell Wexler in Grant Park during the NATO demonstrations in May, 2012.

When I saw him in Grant Park covering the NATO demonstrations, I quit, mid-interview, to streak across the park and get a picture of us together. Among his films that I admire greatly (besides “Medium Cool,” 1969) are “The Best Man” (1964), “In the Heat of the Night” (1967), “The Conversation” (1974), “One Flew Over the Cuckoo’s Nest” (1975) and “Coming Home” (1978). Haskell Wexler died in Santa Monica on December 27, 2015. He was a true visionary and his film “Medium Cool” (1969) featuring a young Robert Forster was set in the streets of Chicago in 1968 against the backdrop of the 1968 Democratic Convention.

2014: This was a banner year, the 50^th anniversary of CIFF. Liv Ullman came with “Miss Julia,” which she directed, and Colin Farrell and Jessica Chastain, the stars of the film, were here as well. I was sent over to Liv Ullman’s hotel suite to interview her. That morning, Rahm Emmanuel’s brother (the doctor) had written an editorial in the Chicago Tribune that advocated for everyone dying at 75. I took a copy to the interview and Liv and her elderly cinematographer and I had a spirited discussion of the piece. Also present that year were Kathleen Turner and Oliver Stone. Director Taylor Hackford came and reported to a headquarters temporarily rented for the 50^th. Hackford was the star of a round table interview and later told me he was glad I was there, because the young journalists present were mainly interested in hearing about “Ray” (2004), whereas I go all the way back to “The Idolmaker”(1980)and “An Officer and a Gentleman.” (1982).

Liv Ullman and I during an interview for "Miss Julie"

Liv Ullman and me.

2015: The famous guests who stick in my mind this year are Michael Moore with “Where to Invade Next?” (his first foray back to film in 6 years), Charlie Kaufman, and Howard Shore, the composer.

NEXT INSTALLMENT: 2016-2023

Four New Films: “Licorice Pizza,” “West Side Story,” “Nightmare Alley,” “Spencer”

By Connie Wilson

On December 28, 2021

In Movies, Reviews, Uncategorized

Last movie I saw was “Licorice Pizza.” I enjoyed it immensely, primarily for the portrayal of Jon Peters by Bradley Cooper, who is having a banner year in starring roles, most notably as the lead as well in “Nightmare Alley,” which is also playing at theaters.

I was also there when the remake of “West Side Story” hit screens—four of us, making 8 in the theater, total. I thoroughly enjoyed WSS. Ansel Elgort can really sing! He was far better than the original lead, who was from Avoca, Iowa, and even said himself that he didn’t know enough about New York City to be an effective lead. The lead actress, who followed Natalie Wood’s dubbed version, was outstanding and should be nominated for Best Actress.

As for the leader of the Jets, I preferred George Chakiris in the 1961 version, but the dancing and the singing in the new film is superior and the two leads were great. We came home and watched the original, just to remind ourselves how it differed.

Primarily, Tony was not so blatantly described as an ex-convict in the original film, Rita Moreno has a new role as the widow of the candy store owner; the new Anita was far thicker through the waist than the young Rita Moreno, but she could really dance.

Still, the film was great, especially on the IMAX screen.

We enjoyed “Nightmare Alley,” Guillermo del Toro’s new offering, and Bradley Cooper should be nominated for Best Actor. The cast is outstanding: Cate Blanchett, Toni Collette, Willem Dafoe, Rooney Mara, Clifton Collins, Jr., Tim Blake Nelson, Richard Jenkins, David Straithairn, Mary Steenburgen, Ron Perlman and others. This film is not as impressive as “The Shape of Water” but it definitely is one of the best films of the year.

I met Guillermo (del Toro), with Ron Perlman in tow, in Chicago the year of “The Shape of Water” and, somehow, ended up at an after-party with the two of them. On the Red Carpet I had gifted Guillermo with a copy of my book “It Came from the 70s: From The Godfather to Apocalypse Now.” He immediately stopped and began reading it. Handlers had to come and convince him to move down the row of interviewers. Just as the handler moved in on Guillermo, he happened to glance down at his feet and said, “Oh, no. Fat man with shoe untied. This is very bad.”

I was surprised to see Sally Hawkins, the star of “The Shape of Water,” portraying Kristin Stewart’s handmaid in “Spencer.” The only film I’ve mentioned (above) that I did not enjoy of the four new ones mentioned was “Spencer.” While Kristin looked good in the many outfits, nothing really happens in the film and I found it incredibly boring.

All the others were very enjoyable, although some of you won’t like “Licorice Pizza.” Watch it if for no other reason than to see Philip Seymour Hoffman’s son, Cooper, portray the male lead. And, of course, the craziness of Jon Peters, which you can read about for yourself. (And, yes, Jon Peters is still alive!)