Blending an engaging, if hectic, storyline with powerful visuals and winning perfs, Mexican Guillermo del Toro’s psychodrama “The Devil’s Backbone,” has the helmer toning down the perverse, comicbook imagination of his first two features — the Spanish-language “Chronos” (1993) and English-language “Mimic” (1997) — in favor of a muted, warmer and more psychological approach. Though it fails in its final reels to capitalize on its early promise, pic is still stylish, accomplished and tremendously enjoyable fare. Pre-sold heavily to many major territories, it did terrific first weekend B.O. at home after opening April 20 on the back of heavy marketing.
Pic will do nothing to harm del Toro’s reputation as perhaps Latin America’s foremost genre talent. However, auds expecting the conceptual hi-jinx of the earlier pics — particularly the multiple award-winning “Chronos” — are likely to be disappointed, and the movie’s psychology is too bargain basement to be of much interest in itself.
Pic will do nothing to harm del Toro’s reputation as perhaps Latin America’s foremost genre talent. However, auds expecting the conceptual hi-jinx of the earlier pics — particularly the multiple award-winning “Chronos” — are likely to be disappointed, and the movie’s psychology is too bargain basement to be of much interest in itself.
- 4/30/2001
- by Jonathan Holland
- Variety Film + TV
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