Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Three Burials is languid simplicity at its best. The story starts off as a murder mystery of sorts when a Mexican man Melquiades Estrada is found shot dead outside a dusty Texas town near the U.S./Mexican border. Without any family he’s written off and unceremoniously buried in a shallow grave. This is not at all satisfactory for Pete Perkins (Jones) a local ranch foreman and Melquiades’ only friend. Pete decides to investigate his friend’s murder on his own and finds out the culprit is a young hot-headed border patrolman named Mike Norton (Barry Pepper). He kidnaps Mike and forces him to disinter the body. With his captive in tow and the body tied to a mule Pete then undertakes a dangerous and romantic journey into Mexico to give Melquiades a proper burial. The older he gets the more Tommy Lee Jones excels at portraying a man of few words. Maybe its because his face--filled with years of deep lines and crevices--can explain everything just by staring off into the distance or by coldly glaring at an enemy. As Pete (for which Jones won best actor prize at the Cannes Film Festival) the actor hands us a lonely cowboy who finds a friendship with an unlikely amigo (played by Julio Cedillo). These two don’t head towards Brokeback Mountain territory but the bond is there. And when Melquiades is killed it sends Pete into a spiral of pain revenge and eventual self-discovery. As Pete’s captive Pepper (25th Hour) turns in an amazing performance as the bewildered border patrolman who goes on his own journey towards redemption. And on the sidelines is January Jones (American Wedding) as Mike’s wife and Melissa Leo (21 Grams) as Pete’s sometimes girlfriend who give boredom a whole new outlook and aptly show just how stuck a beautiful woman can be in such a nowhere town. It’s clear Three Burials is indeed very close to Jones’ heart. Shot almost entirely on his sprawling West Texas ranch Jones’ directorial debut was apparently born out of years of deer-hunting trips he took with Three Burials’ screenwriter Guillermo Arriaga (who also wrote the happy little film 21 Grams). “You don’t have to spend much time along the Rio Grande before you realize that [Arriaga’s] country and mine and the same ” Jones told Entertainment Weekly. Jones paints a vivid picture of this land--and the people--he obviously loves dearly while also depicting the racial and political tensions brewing along the border. But it’s Arriaga’s script that deftly changes the film’s pace. It’s a Western a dark comedy a revenge thriller that eventually turns into a Don Quixote journey of sorts--and the whole thing just keeps you glued save for a few extraneous moments here and there. This could be the start of a beautiful collaborative team.