17/42
A mysterious device designed to grant its owner eternal life resurfaces after four hundred years, leaving destruction in its path. In an interview included in the Criterion version of the film, Ron Perlman talks about how Angel was supposed to speak fluent Spanish. Ron Perlman tried, but Guillermo del Toro found his reading completely unusable. The character was thus transformed into an American expat who hates being in Mexico so much that the little Spanish he does speak is deliberately poorly spoken. As Jesús searches for Aurora after she possesses Cronos, walking through two doors, he stops. . Behind him, reflected in the glass of the door, are the crew and equipment… [discussing why Deiter wants Cronot] Jesus Gris: He thinks it will help him live longer. Angel de la Guardia: [laughs] That idiot does nothing but shit and pee all day and wants to live longer? Explicit nudity was added to the US video release. While the primary US theatrical version features a prologue and dialogue spots in English, the aftermarket version is entirely in Spanish. She appears in the film Masters of Horror (2002). Die Schöne MüllerinFranz SchubertArranged by Charlotte Georg (as Lee Ashley) BMIEditor: Software Music BMICortesia de Capitol Productions Music – Ole Georg. Cronos, severely underrated on this site, is a gripping story that keeps the viewer engaged throughout its duration. Guillermo Del Toro’s first film is a thought-provoking, heartbreaking story that manages to be above all fresh, engaging, and unique while also capturing the atmosphere of horror films in the same mold as The Shining, which is the first family film. and the second horror film. Cronos really doesn’t belong on the slasher end of the horror market, and doesn’t even come close to the sense of gore that the choreography offers. What Cronos manages to achieve is an assault on the mind and soul, which is the core of what a horror film must do to make a lasting impression. With that said, I can kind of see where the average rating comes from, it’s not a gore fest, it doesn’t have a single scare, and it doesn’t have any pointless scenes of gouging out eyes with rusty picks, but as any true horror fan knows, these are just side attractions to excellent horror films like The Shining, like The Mist and Cronos, if not quite the beginning, it’s really close. There are three things about this film that stand out above all else and make it definitely worth seeing. The most subtle is the commentary on US-Mexican relations that Guillermo Del Toro weaves throughout his film. It provides an interesting portrayal of how he, and no doubt many Mexicans, feel about their encounters with the US, that they are always trying to be controlled and need to rise above their own abilities in order to strive for success. The most obvious is the very significant Christian allusion and deliberate play on names. Our main character, an antique dealer, is called Jesus for simple reincarnation issues, but there are a lot of “my God”, “my Lord” and more similar comments in the film, which is undoubtedly a subplot by the directors to show the good that still emanates from our main character. Jesus’ granddaughter and wife are called Aurora and Mercedes, and because they know the meaning of their names, which are “dawn or first light”; and “mercy”; it gives the film a sense of completion. Finally, it is worth mentioning the acting of Federico Lupi and Tamara Shanath, who provide the necessary gravitas even in movement, if not through song, to convey the deep emotional bond between grandfather and granddaughter, which, when all else is removed, is the main driving force of this story and one that keeps you coming back for more.
