‘Guillermo Del Toro’s Cabinet Of Curiosities’ Review: Horror Master Breathes New Life Into The Anthology Format

Alexandre Desplat opened Deadline’s Sound & Stage awards-season event representing the music from his latest project, Guillermo del Toro’s Pinocchio. The Netflix animated film currently available to stream and is the duo’s second collaboration following Best Picture Oscar winner The Shape of Water.

In the early 2010s, Guillermo del Toro and Universal planned an R-rated adaptation of H.P. Lovecraft‘s “In The Mountains Of Madness.” And it was an ambitious project for del Toro, with a $150 million budget and Industrial Light And Magic on board for VFX.

How does a filmmaker reinvent stories told time and time again? It’s a challenge Guillermo del Toro undertakes with the legendary character Pinocchio. Far from the fantasy set by Disney — or flawed direct-to-video entries from others — his imaginative take on Carlo Collodi’s 1883 tale promises reinspection of a classic.

It’s hard to not see how a Marvel Comics character like Benedict Cumberbatch’s Doctor Strange has taken over the surrogate role of MCU leader post-Tony Stark as the cinematic universe has entered The Multiverse Saga, Strange’s domain. However, the British actor seemingly finds it hard to get those deeply emotional or character-driven scenes when you don’t have much screen time to play with in specific instances when they’re simply aiming to move the story along.  As Cumberbatch tells The Talks in a recent interview, when you only have five minutes in a massive Marvel movie like “The Avengers,” it can be tough as an actor to land the emotional aspects when the development of character isn’t exactly the focus and it can be mostly about servicing the story at hand.  READ MORE: Neil Gaiman & Guillermo Del Toro Pitched A ‘Doctor Strange’ Movie To Marvel That Would Have Taken Place In The 1920s “It’s not some sort of acting gym where you’re stripping off layers of self to reveal a layer of truth all the time,” said Cumberbatch.

In 2009, it was considered almost shocking when Pixar’s Up addressed the subject of death in its now-classic opening sequence, a bittersweet mini-movie of love and loss.

When it first ran as an English National Ballet production in 2021, “Creature” received some fairly damning reviews from the UK theater critics. It was branded pitilessly inaccessible, muddled in its execution, and irredeemably gloomy in its outlook.

Comedy star and OK!'s beloved columnist Judi Love has wished Maya Jama a huge congratulations for landing the job as Love Island's incoming host, believing she will do the show's original frontwoman, the late Caroline Flack, "proud". Writing in her column this week, Judi also recalls her experience making her first solo documentary Black, Female and Invisible, encourages male readers to visit the GP more often and has her say on the brand new Dancing On Ice line-up.

Lauv and (G)I-DLE vocalist Minnie recently teamed up to perform the American singer-songwriter’s single ‘All 4 Nothing (I’m So In Love)’.On the October 15 episode of South Korean music show Music Universe K-909, the two singers united for a live performance of ‘All 4 Nothing (I’m So In Love)’, from Lauv’s August 2022 album ‘All 4 Nothing’. Lauv and Minnie performed a stripped-down acoustic version of the track atop a stage decorated with flowers, with the former playing the guitar.“I’m so in love, I’m so in love / I don’t ever wanna stop this ride that we’re on / I don’t ever wanna say goodbye / ‘Cause then all of those nights / They would just be all for nothing,” they sing on the chorus.Shortly after the performance aired, the (G)I-DLE singer took to Instagram to share photos taken backstage with Lauv.

disastrously received rendition) as a “family movie” that “does not shy away from dark themes of death and war,” per Insider.

Guillermo Del Toro has opened up about the special connection he had with his mom over Pinocchio.

“All good things require patience,” Gepetto (David Bradley) lovingly tells his young son, Carlo (Gregory Mann). The exact same words must have been uttered by Guillermo del Toro to himself countless times over the fourteen years he spent working on his dream project, a stop-motion adaptation of Carlo Collodi’s 1886 classic tale, “The Adventures of Pinocchio.” The Mexican auteur, a well-known lover and supporter of animation, first fell in love with the tale of the wooden puppet who wished to be a real boy when he was a boy himself, going to the local cinema with his mother in Guadalajara (“Animation is a medium, not a genre.

at the world premiere of his animated film Pinocchio just one day after she died.Guadalupe Gómez passed away on Friday (October 14) shortly before the opening of Pinocchio at BFI London Film Festival yesterday (October 15).According to Variety, del Toro, the visionary director behind films including Pan’s Labyrinth and The Shape Of Water, became emotional as he revealed the news to the audience.“I just want to say, my mother just passed away, and this was very special for her and me,” del Toro said. “This is not only the first time you’ll see the movie, it’s the first time she’ll see the movie with us.

Most people who have ambitions to climb the property ladder have to start small and work their way up in the hopes of one day owning their dream home. Buying, renovating and selling houses can take a lot of time, patience and perseverance before you eventually get to where you want to be.

Rafaela Sales Ross Guest Contributor After a 14-year uphill battle, Mexican auteur Guillermo del Toro was finally able to share his dream project with an audience as “Pinocchio” (officially titled “Guillermo del Toro’s Pinocchio”) had its world premiere at the BFI London Film Festival. Taking the stage before the premiere, del Toro spoke of his connection to the story: “I saw the film as a kid and it’s a film that bonded me with my mom for an entire life. It affected me because Pinocchio saw the world the way I saw it. I was a little bit enraged that people demand obedience from Pinocchio so I wanted to make a film about disobedience as a virtue, and to say that you shouldn’t change to be loved.”

An enthusiastic rendition of Happy Birthday rang through the auditorium at the world premiere of Guillermo del Toro’s Pinocchio as the London audience was informed Gregory Mann, the film’s lead voice actor, had just turned 13. 

As you might expect from the billing, Guillermo del Toro’s Pinocchio — which had its world premiere at the BFI London Film Festival today — is a very different beast to the 1940 Disney animation, and just as cavalier with the picaresque elements of Carlo Collodi’s 1883 novel. The factor that unifies all three is that the main character — a wooden puppet blessed with life — longs to be a real, human boy, but it’s no spoiler to reveal that del Toro, champion of monsters and misfits, doesn’t see the appeal of that. 

Guy Lodge Film Critic The possessive claim in the title “Guillermo del Toro’s Pinocchio” is a gutsy one. There’s confidence — some would even say arrogance — in filming an oft-told story at least as old as the hills, and suddenly branding it as your own: Even two auteurs as ballsy as Francis Ford Coppola and Baz Luhrmann didn’t slap their own names on “Bram Stoker’s Dracula” and “William Shakespeare’s Romeo + Juliet,” respectively. Still, you can hardly blame del Toro’s stop-motion spin on Carlo Collodi’s 19th-century chestnut “The Adventures of Pinocchio” for wanting to advertise its distinguishing vision up top: After umpteen tellings of the wooden-boy tale, and coming on the heels of Robert Zemeckis’ wretched Disney remake, Netflix’s rival adaptation has to announce itself as something different. That it is; it’s often delightful too.