Guillermo del Toro takes a clear, unbridled pleasure in sharing the wildest worlds of his imagination. Like Wes Anderson — and this is probably the sole cinematic instinct the two directors have in common — del Toro loves to spread his favorite playthings all over the screen. While Anderson presents them meticulously arranged, under glass, and with an implicit instruction that they must not be touched or moved even a millimeter, del Toro upends the toy box and romps delightedly as the colorful contraptions come raining down. It’s not that he has no control. The film that remains his finest proves decisively … Continue reading Oh, now I don’t hardly know her