Guillermo del Toro's Cabinet of Curiosities review, now in full on Netflix – Reviews News TechRadar

✔️ 2022-10-28 ​​17:24:15 – Paris/France.

Netflix steeped us in the mystery of Cabinet of curiosities by Guillermo del Toro premiere the episodes two by two from October 25 until today, Friday 28, when we were able to enjoy the last two.

And we won't be the only ones to recommend the series: the master of suspense Stephen King himself was drawn to this project, calling it "terrifying, sinister and beautiful".

As if he found the spirit of Alfred Hitchcock presents.... our beloved Mexican producer, writer and filmmaker Guillermo del Toro acts as master of ceremonies to serve as an introducer to the eight stories that make up the first season of this anthology series ideal for Halloween.

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Guillermo del Toro's Cabinet of Curiosities - Netflix Trailer

Just a few brush strokes before we get to the heart of the matter: the stories are not related to each other beyond the fact that there is an object related to them that is hiding in Guillermo del Toro: they can be paintings,

Also, in addition to introducing each episode with a brief reflection on the subject, del Toro shows the particular object and a wooden figure that represents the director who took charge of the story.

The story introduces us to a man who is dedicated to buying the contents of storage rooms that their owners have ignored. Sometimes he is lucky and manages to earn some money and other times he works for nothing, throwing away a lot of other people's goods.

One fine day, he takes over storage room 36 and begins to rummage through the bric-a-brac accumulated over the years by an eccentric old man. When he finds a gold candlestick and an intricately carved table, he decides to take them to an antique shop where he will find out what they were used for. Wanting to find something else, he will come back to settle his debts and maybe get caught.

Lot 36 is the first of the stories of Cabinet of curiosities by Guillermo del Toro and the object associated with it is the key that opens the storage room. A place that, of course, hides untold secrets. Apparently he wrote this story following his own experience in which the contents of a storage room in his name were offered for sale without his permission, hence the reality.

In the narration, there are two parallel plots that converge at the end: on the one hand, the Satanism that comes from occult practices and, on the other hand, the xenophobia that is experienced today and which turns out to be the key.

They feature the portrayal of Tim Blake Nelson, usually associated with dastardly characters like the one who brings this story to life, and the creation of tension through assets like lighting.

Masson is a guy with gambling debts who has made a very particular pact to settle them: he works as a cemetery caretaker at night in order to desecrate the graves of the dead and steal the effects with which they were buried, which either they are jewels, relics, decorations or gold teeth.

However, one fine day, he discovers guys who apply his methodology and he can't help but reprimand them. Were not funeral rites the dawn of human civilization? What kind of person is he who dispossesses a dead man?

It is not that he is a paragon of virtues if we take into account the fact that in search of the treasure of one of the deceased, he will enter the underground passages of rats who steal the goods.

We are facing the shortest and most concise episode of this first collection of stories and its short duration really suits you phenomenally since it is a story that explores themes such as greed and claustrophobia .

Most of them are finally moral tales who do not seek so much to freeze our blood as to confront our contradictions and warn us of the price to pay to enter certain spheres which are not reserved for the living.

Moreover, this episode, like all this fantastic series, has what one could call traditional horrorwithout excessive CGI and with a lot of craftsmanship derived from the use of animatronics, actors with contortion skills and creepy characterizations.

After a device explodes in a mine, the sheriff of a city discovers a bloodless corpse in the nearby forest. With the idea of ​​helping him to find out what happened, he will contact a medical examiner he knows very well, who is responsible for exploring the bodies of minors in search of parallels between the two cases.

Pragmatic, fearless and very professional, he will get to work until he makes a discovery that will force him to rethink everything he took for granted.

Probably the best episode of this first batch for many reasons: the story itself, the transitions between scenes, the acting, the special effects and the brutal climax. Calling for an actor like F. Murray Abraham at this point might seem like a joke, but he really does do a stellar job.

In addition, we are facing a round story, very well structured in actions that bring us to a memorable resolution. Of course, it's not for everyone's stomach and contains some very crude footage that almost makes you look away. You can't ask for more.

Stacey is a woman who does not find her place at work: the rest of her colleagues seem to fit in, but she is a weirdo, fond of taxidermy and with interests that have nothing to do with theirs.

In an attempt to get along with them, he begins using an exclusive, revolutionary cream that promises benefits such as rejuvenation, healing, and rebirth for those who use it, but causes her to have a beastly allergic reaction. This will not prevent them from continuing to use it, compulsively, to “go up” in the food chain of their social environment.

This episode plays with a certain “body horror” as we explore the pressure women are under night and day to be acceptable and to fit into the prevailing standard of beauty.

It is also a denunciation of our consumer society… in fact, the associated object is a magic wand that opens up the world of illusions: a remote control with direct access to teleshopping.

There are several very successful sequences in this episode, like this woman with slime cream coming out of a mass reminiscent of that of The thing or the final part in which actress Kate Micucci jumps from emotion to emotion in a shot captured with distorted optics (which is used from time to time to generate a sense of being in an altered state of consciousness).

Will is an aspiring artist taking tough classes to complete his studies when he meets Richard Pickman, a new student whose passion spills over from his work. It is about a misunderstood artist who shows gruesome, dark, and intimidating scenes in his paintings that enter Will's mind, tormenting him for years. He ends up being expelled from the academy.

Their paths separate until, much later, they find each other. Pickman has become a renowned artist and wishes to exhibit his work in Will's gallery, but Will knows the risk to those who submit to his grim visions.

Despite its impeccable artistic conception, the echoes of The Picture of Dorian Gray and the quality of the interpretations, this episode is very long. Tormented artists, especially painters, who have the special ability to see what others cannot see, have been the subject of classic horror stories on a recurring basis.

However, this one lacks a conclusion that does justice to the development of the story, which deflates in a somewhat erratic and less emotional final third than expected.

Walter Gilman is devastated when his twin sister dies before him and not only because of the irreparable loss but because he sees her ectoplasm outside of her body being dragged into the Forest of Lost Souls.

As the years go by, he only becomes obsessed with the idea of ​​saving his sister, for which he will join a society of spiritualists and will launch himself at every opportunity to travel to the afterlife even at the risk of losing his own. .

We are facing the most playful episode with the viewer since an initial narrator assures us that we will have a happy ending. Lucky for someone, of course, because it never rains to everyone's taste.

As we said about the general tone of this collection of stories, the final idea is that we learn something: in this case, that we must respect the barrier that separates the world of the living from that deaths.

In some ways it might be a little naive, but it works reasonably well given the tone it adopts and has some rather curious unexpected twists. As a curiosity, the song that Epperley sings is the main theme of Foreign and it's a late 19th century song called 'The Skye Boat Song'.

A group of strangers receive an invitation to attend a luxurious reunion at a distinguished venue…but soon what promised to become one of the great experiences of their lives turns into a nightmare.

Costamos' signature label eats this proposal with potatoes. There's nothing about this episode that you haven't seen in his previous works and, of course, there's always that hypnotic something about what he plays, even if it's not a particularly neat work.

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SOURCE: Reviews News

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