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Crimson Peak [2015] [R] - 7.7.5

 
 

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ASSIGNED NUMBERS

Unlike the MPAA we do not assign one inscrutable rating based on age, but 3 objective ratings for SEX/NUDITY, VIOLENCE/GORE and PROFANITY on a scale of 0 to 10, from lowest to highest, depending on quantity and context.

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Sex & Nudity
Violence & Gore
Profanity
1 to 10

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In Victorian England an American author (Mia Wasikowska) marries a baronet (Tom Hiddleston) and moves to cold Cumbria. Her new home is a decaying Gothic mansion over a red-clay mine and she soon feels that her groom and his sister have a haunting secret, while also experiencing ghosts and other supernatural phenomena. Also with Charlie Hunnam, Jim Beaver, Emily Coutts and Leslie Hope. Directed by Guillermo del Toro. [1:58]

SEX/NUDITY 7 - A bedroom scene shows a husband and his wife having sex: clothed, they kiss and he lies on top of her, kisses her, she pulls off his shirt, he kisses her inner thigh, places his face between her legs (obscured by the skirt) and when the camera pulls back we see his buttocks as he thrusts (his wife is still clothed but we can see her legs bare just above the ankles and she flips over on top of her husband and thrusts as the scene ends).
 We hear singing off-screen and the camera pans down a hall and into a bedroom where a woman and her brother gasp as they sit on the bed in an embrace; her head is on his shoulder and her hand is shown inside the fly of his trousers moving rhythmically (suggesting masturbation) as his wife enters the room from behind the camera and she sees them and runs away, crying; the first woman runs after her wearing long, partially translucent clothes (we see her breasts and nipples through the material as they bounce).
 In three close-ups, a man and a woman kiss passionately for several seconds. In a workshop scene a man and a woman kiss passionately and he picks her up and sits her on a worktable, and then his sister enters with tea, ending the scene. A woman hands a new wife a book where we see a cartoon depiction of a man lying between a woman's legs, his back bare and his buttocks covered by robes; the cartoon woman wears long robes, revealing one shoulder and her lower legs and feet and the first woman says to flip the pages to see sexual action, but the wife declines the book. A man and a woman smile and gaze into each other's eyes while holding each other closely as they dance a waltz.
 A woman sits in a deep bathtub and we see bare shoulders, arms, and upper chest (no breasts). A few scenes include women wearing long dresses that reveal a little cleavage, as well as several tiny corseted waists.
 A man and his sister argue and she reminds him of a promise never to fall in love with "any of the others." A woman's father uses information from a private investigator to accuse one of her suitors of already being married, not realizing the other woman is dead. A woman says the horrors of her life were for love.

VIOLENCE/GORE 7 - A man is shaving when a figure wearing a black suit and gloves enters the area, grabs the man's head and pounds it into the corner of the sink a dozen times, creating a large hole in the man's forehead and temple and breaking a large corner from the sink and causing steaming sink water to spill out red and combine with blood flow on the floor where the man lies over the floor drain (we see a gaping hole in the head, some gore, and substantial blood flow).
 A woman stabs a man under the armpit, through the ribs and hands another man a knife to finish the kill: the other man leads the wounded man to a corner, argues, then asks where to stab him so that it will not be fatal before stabbing him in the abdomen and helping him to a basement, where he leans on a vat and holds the wound that is bleeding profusely, as the other man leaves. A woman runs from another woman (please see the Sex/Nudity category for more details), who catches up and rips a family heirloom ring from the first woman's finger, leaving it severely black and blue; the first woman then throws the injured woman off a staircase landing, hitting her spine hard on a railing below and she lands unconscious on a foyer floor and the camera cuts to a doctor looking into the injured woman's face, saying he set a broken leg and he tries to carry the injured woman out of the house to a hospital for treatment for anemia and exhaustion. A woman captures another woman and cuts off a long lock of her hair, pulls open a drawer to show braided locks of hair from five women and the captive says, "You killed a baby"; the captive picks up a large metal ink pen, signs a document under threat of a knife, and uses the pen to stab the other woman in the upper chest with profuse bleeding, and then runs away, ending the scene.
 A woman grabs a long knife and another woman retrieves a large blood stained and rusty cleaver; the two women fight with the blades and slash at each other, one receiving a deep cheek slash that bleeds, and the other receiving a facial slash and a deep cut to her fingers that cover her upper dress in blood; they continue to fight on either side of an elevator car that has bars for walls and in a basement where one woman hisses at the other woman three times and charges forward, but the pursued woman climbs up a ladder to the snow covered ground outside; one woman charges forward and the other stabs a long knife deep into her stomach, with considerable blood flow, the stabbed woman pulls out the blade with her hand, cutting it further, and then slashes the other woman's face, with some blood flow before being struck with a shovel n the head twice, until she drops to the ground below the frame (presumably dead). A woman shown wearing a blood-soaked dress stabs a man in the upper cheek by his nose; he sits and slowly pulls out the knife (not much blood flows from the wound, but a bloody tear runs down his face).
 We hear that a mother died of cholera and after her funeral her young daughter lies in bed that night, crying; the girl becomes fearful when she hears creaking sounds and a tall black ghost consisting of a black skeleton wearing a long black taffeta dress, a veil and black opera gloves appears in the hallway outside the bedroom; the outstretched arms, hands, and long fingers appear around the corner first, followed by the walking ghost as it enters the bedroom, grasps the girl by a shoulder, and climbs into bed, whispering black wisps of smoke into the child's ear before the girl screams and the figure disappears and large moths gather at gas lamps on the walls in the hallway.
 A woman lies in bed after drinking tea and gasps awake, holding her stomach and she sees a black skeleton ghost wearing a long, wide black dress stand in the hallway after the bedroom door opens itself and jiggles its own handle; the woman slams the door shut; the ghost's arms and long fingers in black gloves reach through the door and momentarily choke her, recede, disappear, and the door heals itself.
 A woman sees a red skeleton with long fingers and small moldering puffs of red-black smoke rising, all covered in viscous red gore in several scenes: In one scene, the figure digs itself up out of a wooden floor and limps forward, but the woman screams and escapes (the floor then closes up); in a bathroom, the woman sees the figure lying back in a bathtub with a large cleaver stuck deeply into its forehead before getting out of the tub and limping like a zombie down a hallway (we see decaying skin on the thighs and face, but sinews and gore everywhere else on the figure and the red eyeballs bulge beneath the bloody cleaver in the head).
 A woman breaks a padlock on a vat containing viscous red-clay ooze in a basement and stirs it with a metal bar; she turns and walks away, and a large red skeleton with a gaping hole in the forehead rises to the top of the ooze. A woman confronts a female skeleton and a crying baby skeleton, both red and covered with blood and ooze and the larger skeleton points down a hallway and the woman walks away. A woman stands in a bedroom and a black skeleton walks by the tall window in the background. In an attic, sunlight strikes dust particles and briefly highlights a skeleton that disappears. In a dream a blood-red skeleton is in the distance in a field and points off-screen. A doctor shows a woman a set of fading "ghost photography" pictures in which several person's heads look a little like skulls and one subject is wheelchair bound. A woman finds envelopes of photographs of her husband's three previous, now-dead wives, along with gramophone cylinders that she plays; the last cylinder contains a woman's report in a gasping voice, "I'm dying." A woman sees a ghost of a man, touches his face, comes away with a puff of mist and he disappears. We see a ghostly figure playing a piano, having charcoal black skin and wearing a long black dress.
 In several scenes, a woman coughs up bright red blood on a pillow, into her hand, and a larger amount of blood into a sink. A woman with a bloody cheek and bloody hands runs out into a snowstorm and then runs back into the foyer of her mansion. In a scene and a flashback, a woman stands in front of an old mansion in wind and snow with her hand outstretched and covered in blood; her cheek has a deep red slash, and blood spatter covers part of her face, while spilled blood covers part of her long white dress and the snow on the ground as she says in voiceover, "Ghosts are real; of this I am certain" in each scene.
 An unseen entity pushes a woman hard to the floor and the camera cuts to the woman sitting on a divan, crying while her husband and his sister tell her that she is imagining things; she wants to leave the house, but the second woman says there is no place else she can go. A husband and his wife go away for an overnight trip and upon their return, the sister-in-law angrily and jealously slams a large black skillet of food onto a table beside the wife when she learns the couple spent time alone. A man walks for four hours in a snowstorm to reach a woman, whom he thinks is in danger.
 In a morgue containing a half-dozen bodies under sheets, a dead man's daughter identifies him with a huge gasp and shouts for another man to stop touching him, then covers the dead man up completely, crying and complaining that he is cold.
 A large mining machine run by a steam engine lifts containers of oozing blood-red clay onto a conveyor belt that runs into a large basement and a man cuts his finger on a gear and shouts in pain (we do not see the injury); the camera cuts to a woman finishing off a bandage around his hand; no blood is showing.
 A man presents a jar of bright blood-red liquid clay to an American board of directors who belittle his efforts to produce better bricks and belittle him as an English nobleman. A man orders another man to stay away from his adult daughter and to return to England. A woman is belittled by a publisher and by a group of socialites for wanting to be published. A man at a dinner party shouts at a woman in front of other people, calls her writing immature, and she slaps him in the face before running upstairs and crying; the next day, she receives a letter from him, telling her that her father forced him to hurt her and they reconcile. A woman screams angrily at a man for the death of another man by stabbing, but he tells her the man is alive. A woman tells another woman that Father hated Mother, breaking her legs, but she made Mother better with tea. A husband tells his wife never to drink his sister's tea. A man and a woman argue about a vague family secret; she says that she would be locked away and the man would be hanged. We see an old newspaper headline that states a woman was murdered with a cleaver in a bathtub in front of her 12-year-old son and 14-year-old daughter.
 Several butterflies lie in grass, some dead, and some fluttering slowly as they die; in an extreme close-up, large black ants eat a dying butterfly and we hear crunching as we see large ant-mouth parts chewing as a woman nearby says that death is natural. A basement and attic rooms contain large numbers of large moths that sit on walls and objects, flapping their wings. A counter is shown covered with large black flies, all dead.
 Two funeral scenes show six black-clad men with top hats carrying a coffin to a grave. A crumbling gothic mansion features creaking, thudding, and groaning sounds, howling winds, and doors that open and close themselves; from some rooms, we hear laughter, singing and screams off-screen, the foyer roof is rotted through and rain, leaves and snow waft in, and the floorboards on the first floor and the area in front of the door outside seep with red goop and red clay oozes into the snow in front of the house during winter. A house has an open elevator shaft covered in grime and oily substances. A man tells a woman that the water in the bathtub runs red at first, because of clay in the water lines; she turns on a faucet, the pipes rumble and shake, the red water rushes out, and eventually becomes clear. Several large stone vats have covers padlocked in place and the vat lids rattle.

PROFANITY 5 - 1 F-word, 2 mild obscenities (damn, bloody), name-calling (horrible, gruesome, ugly, mad, parasite, spinster, monsters). [profanity glossary]

SUBSTANCE USE - A doctor prescribes an unknown medication for a man's eyes, and a large medicine box holds a dozen or more glass bottles of white powder. A dinner party features glasses of champagne at each place setting on a long table where men and women sit and a man makes a toast and the diners drink, and a man orders port wine for breakfast (we do not see it).

DISCUSSION TOPICS - The Victorian Era, love, passion, incest, marriage, bigamy, relationships, family, secrets, mental illness, ghosts, abused women, financial problems, sexism, belittling others who are different, murder, danger, determination, courage, freedom, justice.

MESSAGE - Future spouses and in-laws are not always what they seem.

Special Keywords: S7 - V7 - P5 - MPAAR

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