Following a rough transition into Hollywood, Guillermo Del Toro’s compelling artistry has thrived most whenever it was allowed increased freedom. Still, he always conjures a definitive vision, which thoroughly reveals his genuine passions.
At his best, Del Toro crafts profound and thought-provoking tales of drama against supernatural backdrops. But even in his lesser works, there is always a visual flair, often with stunning practical effects. And any CGI is not simply relied upon, but equally utilized as another paint in Del Toro’s nightmarish palette. His fantasy worlds are always deeply immersive, and have earned a proper fanbase. Here’s how all ten of his films have been ranked on IMDb.
Mimic - 5.9
This underrated gem has an abundance of palpable atmosphere, suspense and artistic purpose. True, it may be Del Toro’s lowest rated film, and perhaps some criticisms are on point. However, the entirety of the film’s creative team sincerely indulge the outrageous premise, from screenwriting to performances.
Perhaps the story moves a tad quickly, but for a film with so many B-movie tendencies, its attitude is unexpectedly arresting. The effects are certainly haunting, when it could easily look ridiculous throughout. In fact, all the iconography of classic sci-fi and horror is filtered through Del Toro’s eyes in clever ways.
Crimson Peak - 6.5
This is a film with many ghosts, but no scares. The film is perhaps more frightening to the studios than audience. But the point of the movie is its romance, and again, the visuals. Every scene bleeds with the colorful vibrancy of Hammer Horror classics, and moodiness of Universal’s monster movies.
As usual, Del Toro explores themes that insist humans themselves are monstrous, and certainly more terrifying. Unfortunately, the pacing is also awry here. It is unusually slow, and the mystery is utterly predictable. The film does not become truly compelling until the final twenty minutes, or so. And Mia Wasikowska just seems disinterested here, even more so beside Tom Hiddleston.
Cronos - 6.7
Del Toro’s first film establishes nearly all of the characteristics which make him such an enduring artistic force. His detailed sensibilities fill every frame, and there is a decisive realism in the fantastical. Even the likable character actor Ron Perlman is here, just the first of many fun collaborations, the most famous being Hellboy.
Del Toro proves himself a modern-day auteur by infusing novel horror imagery into his classic influences. This movie is, most of all, innovative. Which is no small task, regarding both the genre and this tired lore in particular. The film is an underrated subversion of expectations, and a striking experiment of tasteful, bloody horror.
Blade II - 6.7
Blade’s vampire world of Marvel comics is a natural fit for Del Toro. In fact, the so-called “Reapers” in the film very much resemble those monsters of The Strain. A TV show which drastically improved with each season. Blade II is probably Del Toro’s most commercial film, even compared to his later Kaiju spectacle.
The CGI was not up to par, the tone is uneven, and the plot and villain are decidedly weaker. The superhero elements and sequel requirements seem to restrict Del Toro. But the action is inventive enough, and Del Toro’s sense of style is undeniable. Wesley Snipes is still fun as ever, though the supporting cast isn’t as robust as the original.
Hellboy - 6.8
This celebration of H.P. Lovecraft designs is an unexpectedly fun adventure, and perhaps the most accessible of Del Toro’s movies. The source material is an absolute fit for Del Toro, who capitalizes on the strangeness and romance. The human protagonist, an avatar by which the audience is introduced to Hellboy’s team, is essential but poorly performed.
Unfortunately, they are the weakest point of the movie. But Del Toro’s love for monsters, and the manner with which he humanizes them, is infectious. The action is thrilling and unique, Ron Perlman is absolutely made for the role, and the creature designs are glorious. This Gothic adventure seems formulaic at first, but quickly develops a compelling dramatic and artistic strut.
Pacific Rim - 6.9
Fans of Kaiju films, rejoice! This is precisely the film that our latest incarnation of Godzilla aspired to be. Like all of Del Toro’s films, this story and artwork declare a distinct understanding of the genre at hand, and its fans. The pumping score and the knowing ridiculousness serve up beautiful action sequences, with a great sense of scale and kineticism. There are even winking references to imagery and traits that only fans of the niche genre could possibly recognize.
True, the story is preposterous, and the performances are generally weak. But Del Toro so perfectly expressed his vision, with such confidence and individuality, it is an enormous guilty pleasure. And for many, a delight period.
Hellboy II: The Golden Army - 7.0
In a way, it is strange that this sequel garnered more love than the first film. This installment predominantly stepped away from the original’s horror elements, and instead indulged a more family-friendly atmosphere. True, it focused on fantasy a great deal more, but also more juvenile humor.
The entire attitude didn’t necessarily feel out of place for Del Toro altogether, but it does contradict the prior film. As an example representative of the film overall, just consider the sequence in which Hellboy gets drunk. This will either feel terribly overlong and silly, or amusing as intended. Expectations are crucial in enjoying this film.
The Shape Of Water - 7.3
The Shape of Water is certainly a beautiful movie, with whimsy to spare. Not just in its visuals and music, but with its classic fairy tale plot. The unapologetically graphic depictions of violence and sexuality are mainly unsettling, but artistically validated—to an extent.
This is a movie about relationships, and unless you indulge the entire conceit, the central romance can feel rushed. And certainly awkward. But that very fantasy of the story is its charm. More entertaining than the horror or romance are the protagonist’s friendships. They feel organically rich, and offer genuine humor.
The Devil’s Backbone - 7.4
Audiences have grown accustomed to ghost stories that prioritize cheap jump scares. With The Conjuring as a rare exception, which simply executed them well. Del Toro perfectly stated his view of haunting spirits in Crimson Peak—they are representative of the past.
This film employs the familiar “ghost with a secret” storyline, but reimagines it with a compelling historical setting. The performances are outstanding, and the horror is unusually frightening. Del Toro’s vision of the paranormal is strikingly original, and legitimately aims to scare. However, the true monster is still humanity, something explored just as profoundly and expertly as ever.
Pan’s Labyrinth - 8.2
The definitive Del Toro film, which encapsulates all of his strengths and unique characteristics as a bold creative. Once again, Del Toro uses war and fantasy elements in Spain to traverse deep thematic material from the perspective of a child. The extravaganza of special effects alone is absorbing, with foreboding, convincing creature designs. The so-called “Pale Man” is an iconic movie monster by sheer body language and conceptual horror.
However, Del Toro is a master of immersive fantasy. He unfolds a fairy tale with all the traditional severity, eloquence, and poignant substance as they were initially conceived. This is a beautiful, terrifying and essential drama that even the casual moviegoer can enjoy, opening up whole new worlds.
