Every Guillermo del Toro film: All of the Frankenstein director's films ranked, from best to worst
From his debut film Cronos, a horror film about an otherworldly Scarab to his Oscar-winning Gothic romance The Shape of Water, the Mexican director is no stranger to the unusual.
And regardless of genre, all of del Toro's filmmaking is imbued with a distinct visual flair, making his upcoming adaptation of Mary Shelley's Frankenstein feel all the more appealing - especially since we know that many scenes for the film were shot around Scotland.
So if you witnessed the crew of del Toro's 'Prodigal Father' filming in Edinburgh last year and are wondering what else he has to offer, we've taken a look back at his previous work.
Based on Rotten Tomatoes reviews, here are all of Guillermo del Toro's films ranked from best to worst.
1 . Guillermo del Toro's Pinocchio (2022)
With 96% on Rotten Tomatoes, Guillermo del Toro's Pinocchio is a 2022 stop-motion film which is based loosely on the 1883 Italian novel. Released on Netflix, critics praised the film – which stars Scottish actor Ewan McGregor – for its dark take on the tale of Pinocchio. | Netflix Photo Sales
2 . Pan's Labyrinth (2006)
Falling slightly behind his most recent film is Pan's Labyrinth. Released in 2006, the dark fantasy received a 22 minute-long standing ovation during its Cannes premiere. It is widely considered one of the best fantasy films ever made and won a number of awards – including three Oscars. | Getty Images Photo Sales
3 . The Devil's Backbone (2001)
Released in 2001, The Devil's Backbone is a Gothic horror film about a 10-year-old orphan who is sent to Santa Lucia School, where he uncovers its secrets including the ghost which wanders the grounds. Set during the Spanish Civil War, the film has a Rotten Tomatoes score of 93%. | Getty Images Photo Sales
4 . The Shape of Water (2017)
Widely praised by critics upon its release, The Shape of Water saw del Toro win Best Picture and Best Director, as well as two others, during the 90th Academy Awards. The fantasy-romance film stars Sally Hawkins, Michael Shannon, Richard Jenkins, Doug Jones, Michael Stuhlbarg, and Octavia Spencer. | AFP via Getty Images Photo Sales
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Scottish Sun
an hour ago
- Scottish Sun
Simon Cowell wanted to join Channel 4 reality show but backed out over health warning, says pal
Singer who has grown close to Simon warned him off the idea SI'S HUSTLE Simon Cowell wanted to join Channel 4 reality show but backed out over health warning, says pal Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) DON'T let the high-waisted jeans, tinted specs or luxury lifestyle fool you – Simon Cowell reckons he's a real tough guy at heart. In fact, the music mogul even considered signing up for Channel 4's extreme challenge show, SAS: Who Dares Wins, according to his pal Lucy Spraggan. Sign up for the Entertainment newsletter Sign up 7 Lucy Spraggan has signed up to SAS: Who Dares Wins Credit: Pete Dadds / Channel 4 7 Show line-up from left to right: Bimini, Chloe Burrows, Adam Collard, Lady Leshurr, Conor Benn, Hannah Spearitt, Troy Deeney, Tasha Ghouri, Harry Clark, Rebecca Loos, Louie Spence, Michaella McCollum, Adebayo Akinfenwa and Lucy Spraggan Credit: Pete Dadds / Channel 4 Singer Lucy, who has grown close to Simon since starring on The X Factor in 2012, warned him off the idea — then joined the line-up herself. She said: 'He thought it was a great idea, me doing the show. 'He knows I love being outdoors. We do a lot of shooting air rifles and stuff together, so he knows this is my thing, testing my mental resilience. 'It was just funny because he had said, 'Oh, maybe I'll try and have a go at it'. 'I was like, 'Simon, you would literally die!'. It was funny because it really contextualised how hard it was that I just straight away said to him, 'You would have no chance'. 'But Lauren [Silverman, Cowell's wife], I said to her at dinner the other day, 'You should have a go'. She could do it, it would be funny.' Simon, right, and Lucy have become such good pals, he walked her down the aisle at her wedding to Emilia Smith last summer. The new series of SAS: Who Dares Wins, which begins next Sunday at 9pm, sees Simon dial in to give Lucy a pep talk — but it doesn't end well. She said: 'The DS [directing staff] hung up on him and he was like, 'I've never been so angry'.' Lucy's not the only celebrity recruit with reality TV experience. Simon Cowell set to launch ANOTHER TV talent contest amid 'huge excitement' around his Netflix boyband search show But ex-military man and winner of The Traitors, Harry Clark, seems to have his shows mixed up, as he is rumbled cheating in physical tasks. Lead instructor Billy Billingham rages: 'His integrity and honesty stinks, he's playing us.' Harry said: 'That's when I was the most scared. I was like, 'I've let the Army down. I've definitely let every-one at home down, and I've let myself down'. 'But I was in so much pain with my body and my feet. I remember my big toe, it was infected.' Apart from the shame, Harry wasn't phased being bawled at by instructors. He said: 'That didn't really bother me. I was in the Army since I was 16, so it wasn't really any different.' Perhaps Simon thought the same after all those X Factor bootcamps. 7 Simon Cowell considered signing up for Channel 4's extreme challenge show Credit: Rex LOUIE IN PORNO FANTASY 7 Louie Spence reveals why he couldn't take the former special forces soldiers seriously Credit: Pete Dadds / Channel 4 LOUIE SPENCE lasted less than 24 hours on the course – but it wasn't the hard graft that put him off. The former dancer reveals he couldn't take the former special forces soldiers seriously because he felt like he was in a gay porn movie. Louie, who battled to keep a straight face, said: 'I'm sorry, I couldn't get it out of my mind – as soon as I had to put this hood on and could see these black boots walking along, before they pull that hood off and say: 'What's your name?' 'I was thinking, God, this is like a gay fantasy porno. It's like you're in the Army now, you've been a naughty boy. 'I couldn't get it out of my mind, just expecting the DS to strip. I thought, 'This isn't good'.' ALL GO, CHLOE 7 Former Love Island bombshell Chloe Burrows Credit: Pete Dadds / Channel 4 SHE'S taken on her fair share of reality shows, but nothing could have prepared Chloe Burrows for her SAS stint. The former Love Island bombshell thought she'd get a break from the gruelling regime during filming so was stunned to discover it's so full-on, they have medics on stand-by. Chloe said: 'We had the meeting before and it was like, 'Yeah, there's going to be an ambulance crew within a kilometre, they've dealt with saving lives'. And I was thinking, 'Oh, my God . . . '. I did go in a bit naive. 'It was a complete culture shock. I've worked on other shows before . . . you do get a bit of respite. 'Even when I've done Scared Of The Dark, and Inside, where you are filmed 24/7, you do get a little bit of relaxing time – you know, a bit of a moment to yourself. 'But there was no break. Like, honestly, you were on, on, on all day. It was a lot, to be honest.' WHAT A GAS, MIC 7 Michaella McCollum took on the dreaded gas chamber challenge Credit: Pete Dadds / Channel 4 AFTER taking on the dreaded gas chamber challenge, Michaella McCollum reckons she would be up for more of the same. The single mum who got jailed in Peru for smuggling cocaine, was meant to rescue a hostage trapped inside, and saved herself instead. 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'I'm still looking for it, which is not very good seeing as my missus wants more kids. ' I don't know how much luck we'll have with that now. 'That was more painful than being punched in the head for a living.' Meanwhile Troy sported his injuries as he wed partner Alisha after returning from filming. He said: 'She wasn't too happy I turned up with a black eye.' HARDMAN Chief Instructor Billy Billingham reckons the show will be a wake-up for the celebrities. He said: 'With the world being as unstable as it is, we may all be called to the battlefield, to defend. "These celebrities are going to get an understanding of what that feels like.' COMPLETING the line-up are former footballer Adebayo Akinfenwa, Love Islanders Tasha Ghouri and Adam Collard, S Club 7's Hannah Spearritt, glamour girl Rebecca Loos, drag queen Bimini and musician Lady Leshurr.
Scotsman
3 hours ago
- Scotsman
is it still a metal classic or has it aged like milk?
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Has Fear Factory's Demanufacture stood the test of time or, as the prosecution accuse, become a 'flimsy structure' for metal to follow? Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Fear Factory's 1995 album Demanufacture is widely considered a landmark in metal, but its legacy remains fiercely debated. Accusations range from being overly mechanistic and cold to lacking the warmth and organic feel of traditional metal Is it a pioneering work guilty of derailing a genre, or is it a misunderstood masterpiece deserving of a dramatic re-evaluation? Today, we convene in the solemn chambers of public opinion to preside over a musical case that, while critically lauded in its time, has since been subjected to scrutiny, mischaracterisation, and perhaps, a failure to fully grasp its true impact. On trial: Demanufacture by Fear Factory, a 1995 release that arrived with the force of a hydraulic press, forging a path between industrial coldness and metallic brutality. Often cited as a pioneering work, it has also faced criticisms of being too rigid, too mechanical, and even, by some, too influential in ways that led to less desirable offshoots. Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. Bell, guitarist Dino Cazares, bassist Christian Olde Wolbers, and drummer Raymond Herrera, the band forged a unique sound that relentlessly fused industrial machine-like precision with death metal's aggression and groove metal's rhythmic drive. Advertisement Hide Ad Advertisement Hide Ad They built a reputation for pioneering a distinct rhythmic assault, often employing blast beats, double bass drumming, and heavily palm-muted guitar riffs that sounded more like percussive machinery than traditional shredding. Their lyrical themes, consistently exploring the uneasy relationship between man and machine, technology and humanity, carved out a distinct conceptual identity that resonated with a generation grappling with the digital age. It was in 1995 that Fear Factory released their second studio album, Demanufacture. Upon its arrival, it was heralded by many as a ground-breaking work, a bold leap forward that redefined the boundaries of extreme music. However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad What is your verdict on Fear Factory's 1995 album Demanufacture? Share if you're for or against the album by leaving a comment down below, and catch Fear Factory when they peform at Bloodstock Open Air 2025 in August 2025.
Metro
5 hours ago
- Metro
Film hailed ‘best sci-fi of all time' now available to stream for free
An iconic 80s sci-fi film lauded as the 'best of all time' is streaming for free right now on ITVX. Released in 1984, The Terminator launched director James Cameron's career while solidifying leading man Arnold Schwarzenegger as an action hero. It stars the actor as the titular cybernetic assassin who is sent back in time from 2029 to 1984 in a bid to kill Sarah Connor (Linda Hamilton), whose unborn son will save mankind from extinction in the future. At the same time, Kyle Reese (Michael Biehn) is a soldier sent back in time to protect Sarah from the threat of Skynet, a hostile artificial intelligence. Defying studios' low expectations, The Terminator grossed a whopping $79.3 million (£59M) against a budget of just $6.4M (£4.7M). It spawned sequel films, a TV series, video games, novels, and a whole plethora of merchandise while regularly featuring on lists of the greatest sci-fi films of all time. The Terminator holds a rare 100% rating on Rotten Tomatoes, with the critics' consensus reading: 'With its impressive action sequences, taut economic direction, and relentlessly fast pace, it's clear why The Terminator continues to be an influence on sci-fi and action flicks.' In their review, The Spectator said: 'It's engrossing, suspenseful, has a personality all of its own and absolutely stands the test of time.' The Washington Post added: 'The Terminator brings film violence into the realm of the surreal.' Flavorwire wrote: 'Much of Terminator's greatness is due to its low-budget aesthetic and lo-fi energy; perhaps out of necessity, Cameron's sense of storytelling has a lean efficiency that both he and the series have long since abandoned.' Time Out said the film was 'damn close to perfect', while the BBC hailed it as 'one of the most effective science fiction films of recent decades.' The Hollywood Reporter echoed the same sentiments, saying: 'The havoc makes for a genuine steel metal trap of a movie that may very well be the best picture of its kind since The Road Warrior.' Speaking in 2021, Avatar director Cameron reflected on the unlikely inspiration behind The Terminator. 'The Terminator came from a dream that I had while I was sick with a fever in a cheap pensione in Rome in 1981,' he told the British Film Institute. More Trending 'It was the image of a chrome skeleton emerging from a fire. When I woke up, I began sketching on the hotel stationery. 'The first sketch I did showed a metal skeleton cut in half at the waist, crawling over a tile floor, using a large kitchen knife to pull itself forward while reaching out with the other hand. In a second drawing, the character is threatening a crawling woman. 'Minus the kitchen knife, these images became the finale of The Terminator almost exactly.' The Terminator is streaming now on ITVX Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: I'm a horror expert – these are the 7 best films of 2025 so far MORE: 'Masterpiece' 70s thriller with shocking twist now available to stream for free MORE: Nostalgic 90s sequel that 'ruined my Friday night' soars to number one on Netflix
