[1] Guillermo del Toros’s The Shape of Water is the
latest meeting of the whimsical and the grotesque. The plot
unfolds as follows: in the 1950s, Elisa is a cleaner at a military
[4] research laboratory, who happens also to be mute, which places
her among other minorities without a say: there is her
African-American colleague Zelda and her neighbour, the artist
[7] Giles, who is gay. The screenplay brings together the
disenfranchised to save a fellow outcast.
The amphibious monster kept captive at the lab
[10] doesn’t have a name, and his idea of a witty and humorous
conversation is to roar in your face. But Elisa takes a shine to
him. “When he looks at me, he doesn’t know what I lack or
[13] how I am incomplete.”
In this film watertight ideas fight for space with flawed
ones. It begins with a dream sequence in which Elisa’s
[16] apartment is submerged. When the scene is repeated later for
real, causing only a minor leak in the house below, the rational
mind has too many objections (the floor would collapse!) for
[19] the fantasy to survive. An amphibious humanoid with magic
powers we can believe, but a flooded apartment that is as good
as new one scene later doesn’t stand up. There are other
[22] discrepancies too — like the sophisticated CCTV system in
1962, or the creature’s ability to wipe away the bulletholes in
his own body, sealing up the wounds, ET-style.
Newstatesman, February 9th, 2018 (adapted)
Based on the text above, judge of following item.
The expression “without a say” (l.5) refers to the fact that Elisa can’t speak.
[1] Guillermo del Toros’s The Shape of Water is the
latest meeting of the whimsical and the grotesque. The plot
unfolds as follows: in the 1950s, Elisa is a cleaner at a military
[4] research laboratory, who happens also to be mute, which places
her among other minorities without a say: there is her
African-American colleague Zelda and her neighbour, the artist
[7] Giles, who is gay. The screenplay brings together the
disenfranchised to save a fellow outcast.
The amphibious monster kept captive at the lab
[10] doesn’t have a name, and his idea of a witty and humorous
conversation is to roar in your face. But Elisa takes a shine to
him. “When he looks at me, he doesn’t know what I lack or
[13] how I am incomplete.”
In this film watertight ideas fight for space with flawed
ones. It begins with a dream sequence in which Elisa’s
[16] apartment is submerged. When the scene is repeated later for
real, causing only a minor leak in the house below, the rational
mind has too many objections (the floor would collapse!) for
[19] the fantasy to survive. An amphibious humanoid with magic
powers we can believe, but a flooded apartment that is as good
as new one scene later doesn’t stand up. There are other
[22] discrepancies too — like the sophisticated CCTV system in
1962, or the creature’s ability to wipe away the bulletholes in
his own body, sealing up the wounds, ET-style.
Newstatesman, February 9th, 2018 (adapted)
Based on the text above, judge of following item.
“The plot unfolds as follows” (l. 2 and 3) can be correctly rewritten as This is the moral of the story.
[1] Guillermo del Toros’s The Shape of Water is the
latest meeting of the whimsical and the grotesque. The plot
unfolds as follows: in the 1950s, Elisa is a cleaner at a military
[4] research laboratory, who happens also to be mute, which places
her among other minorities without a say: there is her
African-American colleague Zelda and her neighbour, the artist
[7] Giles, who is gay. The screenplay brings together the
disenfranchised to save a fellow outcast.
The amphibious monster kept captive at the lab
[10] doesn’t have a name, and his idea of a witty and humorous
conversation is to roar in your face. But Elisa takes a shine to
him. “When he looks at me, he doesn’t know what I lack or
[13] how I am incomplete.”
In this film watertight ideas fight for space with flawed
ones. It begins with a dream sequence in which Elisa’s
[16] apartment is submerged. When the scene is repeated later for
real, causing only a minor leak in the house below, the rational
mind has too many objections (the floor would collapse!) for
[19] the fantasy to survive. An amphibious humanoid with magic
powers we can believe, but a flooded apartment that is as good
as new one scene later doesn’t stand up. There are other
[22] discrepancies too — like the sophisticated CCTV system in
1962, or the creature’s ability to wipe away the bulletholes in
his own body, sealing up the wounds, ET-style.
Newstatesman, February 9th, 2018 (adapted)
Based on the text above, judge of following item.
Elisa, Zelda, Giles and the monster share a common feature: they have all been deprived of power and marginalized.
[1] Guillermo del Toros’s The Shape of Water is the
latest meeting of the whimsical and the grotesque. The plot
unfolds as follows: in the 1950s, Elisa is a cleaner at a military
[4] research laboratory, who happens also to be mute, which places
her among other minorities without a say: there is her
African-American colleague Zelda and her neighbour, the artist
[7] Giles, who is gay. The screenplay brings together the
disenfranchised to save a fellow outcast.
The amphibious monster kept captive at the lab
[10] doesn’t have a name, and his idea of a witty and humorous
conversation is to roar in your face. But Elisa takes a shine to
him. “When he looks at me, he doesn’t know what I lack or
[13] how I am incomplete.”
In this film watertight ideas fight for space with flawed
ones. It begins with a dream sequence in which Elisa’s
[16] apartment is submerged. When the scene is repeated later for
real, causing only a minor leak in the house below, the rational
mind has too many objections (the floor would collapse!) for
[19] the fantasy to survive. An amphibious humanoid with magic
powers we can believe, but a flooded apartment that is as good
as new one scene later doesn’t stand up. There are other
[22] discrepancies too — like the sophisticated CCTV system in
1962, or the creature’s ability to wipe away the bulletholes in
his own body, sealing up the wounds, ET-style.
Newstatesman, February 9th, 2018 (adapted)
Based on the text above, judge of following item.
In the text, the words “watertight” (R.14) and “flawed” (R.14) mean respectively incontestable and erroneous.
[1] Guillermo del Toros’s The Shape of Water is the
latest meeting of the whimsical and the grotesque. The plot
unfolds as follows: in the 1950s, Elisa is a cleaner at a military
[4] research laboratory, who happens also to be mute, which places
her among other minorities without a say: there is her
African-American colleague Zelda and her neighbour, the artist
[7] Giles, who is gay. The screenplay brings together the
disenfranchised to save a fellow outcast.
The amphibious monster kept captive at the lab
[10] doesn’t have a name, and his idea of a witty and humorous
conversation is to roar in your face. But Elisa takes a shine to
him. “When he looks at me, he doesn’t know what I lack or
[13] how I am incomplete.”
In this film watertight ideas fight for space with flawed
ones. It begins with a dream sequence in which Elisa’s
[16] apartment is submerged. When the scene is repeated later for
real, causing only a minor leak in the house below, the rational
mind has too many objections (the floor would collapse!) for
[19] the fantasy to survive. An amphibious humanoid with magic
powers we can believe, but a flooded apartment that is as good
as new one scene later doesn’t stand up. There are other
[22] discrepancies too — like the sophisticated CCTV system in
1962, or the creature’s ability to wipe away the bulletholes in
his own body, sealing up the wounds, ET-style.
Newstatesman, February 9th, 2018 (adapted)
Based on the text above, judge of following item.
One weak point in the film is the real-life sequence of the submerged apartment.
[1] Guillermo del Toros’s The Shape of Water is the
latest meeting of the whimsical and the grotesque. The plot
unfolds as follows: in the 1950s, Elisa is a cleaner at a military
[4] research laboratory, who happens also to be mute, which places
her among other minorities without a say: there is her
African-American colleague Zelda and her neighbour, the artist
[7] Giles, who is gay. The screenplay brings together the
disenfranchised to save a fellow outcast.
The amphibious monster kept captive at the lab
[10] doesn’t have a name, and his idea of a witty and humorous
conversation is to roar in your face. But Elisa takes a shine to
him. “When he looks at me, he doesn’t know what I lack or
[13] how I am incomplete.”
In this film watertight ideas fight for space with flawed
ones. It begins with a dream sequence in which Elisa’s
[16] apartment is submerged. When the scene is repeated later for
real, causing only a minor leak in the house below, the rational
mind has too many objections (the floor would collapse!) for
[19] the fantasy to survive. An amphibious humanoid with magic
powers we can believe, but a flooded apartment that is as good
as new one scene later doesn’t stand up. There are other
[22] discrepancies too — like the sophisticated CCTV system in
1962, or the creature’s ability to wipe away the bulletholes in
his own body, sealing up the wounds, ET-style.
Newstatesman, February 9th, 2018 (adapted)
Based on the text above, judge of following item.
According to the author, one of the strong points of the film is the way del Toro strikes a fair balance between watertight ideas and improbable ideas.