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While the digital effects are undeniably contemporary, Crimson Peak is otherwise a period homage that mostly plays like a period film, rarely giving in to contemporary notions of pacing and payoff. When the scares do arrive, however, they’re effectively unsettling.

This is a film of tactile decadence, such a rich sensory experience that it's almost suffocating.

Though this movie waltzes to its own strange rhythm, del Toro hits every note.

Del Toro’s predictably impeccable production design and tonal flourishes help bring the film to life, aided by strong performances from his leads, especially Jessica Chastain, who gives the otherwise reverent proceedings just the right amount of jolt.

Guillermo del Toro’s gothic fantasy-romance Crimson Peak is outrageously sumptuous, gruesomely violent and designed to within an inch of its life.

Never entirely satisfying as a drama, Crimson Peak is visually dazzling, boasting lively and at times even transfixing performances that keep the story’s blood flowing.

Unsurprisingly for a Del Toro film, the production design is the real star of Crimson Peak.

The gifted fantasy/sci-fi/horror specialist has made a film that's very bloody, and bloody stylish at that, one that's certainly unequaled in its field for the beauty of its camerawork, sets, costumes and effects. But it's also conventionally plotted and not surprising or scary at all, as it resurrects hoary horror tropes from decades ago to utilize them in conventional, rather than fresh or subversive ways

All three actors work hard... and when the melodrama hits fever pitch, Crimson Peak lurches into life. But overall this lacks weight and intensity: a Brontë-esque bauble smeared in twenty-first-century slickness.

Aflame with color and awash in symbolism, this undeniably ravishing yet ultimately disappointing haunted-house meller is all surface and no substance, sinking under the weight of its own self-importance into the sanguine muck below.