Diane says: “THE HUMAN VOICE, stars Tilda Swinton, so you’re already feeling good. Made in 2020, it’s an adaptation of a play Jean Cocteau wrote for his actresses to show their full range of emotions. Swinton plays a ‘woman on
Diane says: “STRANGE WAY OF LIFE opens on a typical Old West set, as the title song is sung, in Spanish, by what sounds like a female voice but turns out to be a man singing falsetto—intimations of unconventional elements
Beth says: “The challenge for Jose Salcedo, Pedro Almodovar’s longtime editor, was how to harness two strong, distinct voices (Almodovar’s and writer Alice Munro, whose short stories were adapted for the screen) into a cohesive blend, while at the same
Chris says: “Doesn’t contain the giddy highs of Almodovar’s best and feels scattered like much of his post-VOLVER output; however, while definitely a mature work, it’s not boring like JULIETA, and the widespread praise for Antonio Banderas’ affecting, multifaceted performance
Thom says: “Most ‘movie’ folks have been assiduous followers of the Spanish master Almodóvar since early in his career and I count myself among them although, honestly, I’ve rarely considered the possibility of him going to the TIP-TOP, mainly due
Bruce says: “THE SKIN I LIVE IN is an adaptation of the French novel Mygale by Thierry Jonquet. Judging from what I have read about the novel, Almodóvar’s adaptation is a very loose one. For a decade I have wished
Bruce says: “Pedro Almodóvar is on a creative treadmill and desperately needs to hop off. Nothing about BROKEN EMBRACES seems fresh and engaging. Once again his plot centers on various characters harboring secrets that they withhold from each other and
Bruce says: “Two sisters each harbor a dreadful secret. Glamorous sister Raimunda (Penelope Cruz) is trying to cover up her husband’s murder; mousy sister Sole (Lola Dueñas) is fearful that friends and family will discover that the ghost of her
Bruce says: “Because Pedro Almodóvar is so proficient and so accomplished I tend to perhaps expect too much from him. In BAD EDUCATION we see Almodóvar fine-tuning his craft once again, this time turning to suspense and a bit of