Reviews (8)

Women, their problems, and more women with their problems...
...typical Almodovar. If you happen to like him for that, then, you will enjoy this film. I like the fact that Almodovar keeps his style unchanged, from working with virtually same group of actors every time to using the same combination of colors every time. This repeatition creates a sence of continuity and familiarity, which allows us to enjoy every film to its fullest.

While this film is not Almodovar's funniest one, it is definitely one of the most exploring, when it comes to the parent-child relationships.

And again, Almodovar, is at his best, when he talks about women... Just how in the world does he manage that? Well, it does not matter how; what matters is that he DOES.

Almodrama
Like all great Almodovar movies, traditional gender roles are subverted in 'High Heels'. In fact for WASP suburbanite America, much of this plot would seem like an episode of Jerry Springer. Mother abandons daughter for singing career, daughter marries mother's former lover, mother continues to have affair with son-in-law while daughter becomes pregnant through a night of passion with a drag queen. How ironic it is then that Almodovar takes much of his influence for this movie from Douglas Sirk. A director noted for his melodramas about late 50's/early 60's family life amongst WASP suburanites in America. In fact this meshing of a traditional film genre with more modern edgy characters has even been given a name - an Almodrama -.

The title 'High Heels' refers to the time when Rebecca was a child and couldn't sleep until she heard the high heels of her mother click-clacking her way home from work outside her bedroom window. Despite being abandoned by her mother, Rebecca never lets go of her love for her and tries all her life to be as 'good' as her in her life and in her loves.

While this movie was critically panned by many critics both in Spain and abroad, 'High Heels' went on to become the then, second highest-grossing film in Spanish history, ('Women On The Verge Of A Nervous Breakdown' being the first!)

"I'm whatever you call me."
The Spanish comedy film, "High Heels" directed by Pedro Almodovar is the story of a daughter, Rebecca (Victoria Abril) who reunites with her mother, the famous actress/singer Becky del Paramo (Marisa Paredes) after years of estrangement. The mother-daughter relationship is already severely strained due to Becky's single-minded devotion to her career--and a string of unfortunate relationships with men, but Rebecca's marriage to the shady and rather unpleasant Manuel, her former step-father, makes the difficult reunion almost intolerable.

Rebecca is now a successful television newscaster, but all her success and confidence is stripped away in her mother's presence. Rebecca has never quite managed to overcome her childhood abandonment, and she has yet to resolve many issues about her mother. Rebecca's desire to understand her mother has led to her fascination with Lethal--a female impersonator at a local night club. Lethal specializes in impersonating Becky's Pop years, and performs Becky's songs wearing a mini-skirt, platform shoes and fishnet tights. But is Lethal just another drag-queen or is he something more?

"All About My Mother" is Almodovar's best film, but "High Heels" is my favourite. I have yet to see a film that depicts a mother-daughter relationship quite as well as "High Heels." This film covers all the usual nasty mother-daughter conflicts of rivalry, abandon, selfishness, aging, and jealousy, but these issues are resolved in the most beautiful way by the story. Victoria Abril is amazing (as always) in the role of Rebecca--the abandoned daughter who can't quite forget or forgive the childhood memories of her mother packing and leaving for professional engagements, and Rebecca's wounds are reopened when her mother returns to Madrid. Abril plays the role with vunerability veneered with toughness. Marisa Paredes, as the elegant Becky del Paramo, is the woman who failed as a mother but succeeded as a star. The reunion of the two women as they finally salvage their relationship is perhaps the most touching event I have ever witnessed on film. Almodovar's message is acceptance and forgiveness of the human failings we all share before the moment passes us by and the opportunity is lost forever.

The film does include one sexually explict scene. Also the soundtrack to the film is simply marvellous, and it was through the soundtrack I discovered the Spanish popstar Luz Casal. She performs two beautiful songs in the film: "Piensa en Mi" and "Un Ano de Amor."--displacedhuman--Amazon.com Reviewer

BECKY DEL PARAMO E HIJA
Although it's not a materpiece, a bit slow in some parts, every Almodovar film is always a gift for the senses, and Tacones Lejanos "High Heels" is not the exception. Exceptional acting performances by Victoria Abril and Marisa Paredes, amazing cinematography, marvelous songs by Luz Casal ("Un año de Amor" and the heartbreaking "Piensa En Mi"), funny impersonators secenes (Miguel Bose aka Letal), and a must-seen for all the fans of the House Of Chanel with big exposure of clothes, jewelry, bags, glasses (eraly 90s collections). At last, i recommend this film for just having a big time with this funny Almodovar.

An intriguing and riveting film.
I watch many foreign films, and have always had trouble getting into the serious dramas, because I have to rely so heavily on the subtitles, which distracts me from immersing myself into the action. Foreign comedies are easy to get into. And, though this does have some humorous bits, it's one of the few foreign dramas with which I really became engrossed. I found myself guessing at every clue of the mystery and calculating every next step of the action. It may be bad form to give away clues to great mysteries, but here's a tidbit to keep you from being frustrated at trying to guess the mystery; the judge and the transvestite are the same guy. Almodovar is a great director. For a lighter fare, with a sadonic bite, try Almodovar's other masterpieces, TIE ME UP TIE ME DOWN or WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. ... Read more

Reviews (29)

Very funny movie [5]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

Very funny movie
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

"In my own dirty and silent way, I loved you."
"Kika" (Veronique Forque) is a bubbly beautician who has a poor history with men ("I always get the weirdos"). She lives with photographer Ramon who has a few kinky habits. Ramon has never forgotten his mother's suicide, and he has mixed feelings about his sinister step-father (Peter Coyote). Ramon's ex-girlfriend, Andrea Scarface (Victoria Abril) is the bizarre former psychologist-turned-tabloid-crime-TV-host who continues to show a morbid interest in Ramon's life.

"Kika" is probably Almodovar's most misunderstood film. When I saw it in the cinema, many people left during the controversial rape sequence, and I read several professional reviews criticizing this scene. This scene, however, is essential to the film's message. The character of Andrea Scarface exploits tragedy with no respect for the privacy of the victim--the crime against the individual becomes nothing next to the sensationalistic exploitation of the crime converted to entertainment to be enjoyed by the masses. That said, Almodovar fans should enjoy the darkly comic "Kika" but those fresh to Almodovar should start somewhere else.

Guileless, chatterbox Kika is one of Almodovar's greatest characters. Terrible things happen to her, but she remains basically unscarred by events. As with most of Almodovar films, his female characters are more interesting than the males. The darkly malevolent Andrea Scarface--with her fantastic costumes--is a perfect foil for Kika's perpetually sunny disposition. But there are many great minor characters in the film--there's Kika's devoted maid, Juana ("I want to be a prison matron") who would like to be more than just a domestic servant, and Paul Bazzo ("stop drooling on me")--ex-adult film star and prisoner who escapes during a self-flagellation ceremony. Kika is a wild story--dark, wickedly funny, and kinky. Lots of nudity--this film is not for the easily offended--displacedhuman

Very funny movie [4]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

Very funny movie [3]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it. ... Read more

Reviews (25)

Antonio Banderas Was Better When Euro Film Star
I watched Banderas in his European movies before he became an American movie star. I really liked all of his work then whereas now his work is very uneven in quality. "Evita" is the only work of his I've admired since his "conversion." This film was his very best prior to his coming to America. I'll confess that director Pedro Aldomovar's 2 most commerical films, of which this is one, appeal to me more than his other films. The other is "Woman On The Verge of A Nervous Breakdown." Perhaps this is because these two works involve heterosexual love affairs and are also comedic and satiric. They're broadly played but enjoyable for a bigger audience than Aldomovar's work normally gets. Banderas is incredibly sexy in this film as the patient fresh from a mental hospital who wants a regular married life and seeks to find it with a porno star woman. Bringing these two together for a black comedy was a stroke of genius. The Tie Me Up, Tie Me Down in the title refers to the woman's liking kinky stuff and Banderas's literally tying her up and down to the bed. This is a very sexy, romantic even, film and for those who feel Aldomovar's films typically are aimed to please only gays and not straights, this film should convert them to becoming fans of his considerable talent. It will also make them sad that Banderas decided to become an American movie star.

Tie Me Up! Tie Me Down!
Tie Me Up! Tie Me Down! (¡Átame!) is one of the two movies by renown director Pedro Almodóvar (the other being Women on the Verge of a Nervous Breakdown) that got wide attention in the US, albeit in the art house scene. Nothing since Tie Me Up! Tie Me Down! (made in 1990) has gotten nearly as much attention, despite several efforts since than by Almodóvar. Both movies have a similar style, but Tie Me Up! Tie Me Down! is a bit more disturbing as it revolves around a kidnapping.

Marina Osorio (Victoria Abril) is a former porn actor and junkie trying to make a more respectable living as a B movie actor. Ricky (Antonio Banderas), is a troubled youth who has just been released from a mental institution where he had spent the last several years due to his constant running away from orphanages and reform schools. Somehow Ricky has decided that Marina is his future wife and after some very lame attempts to get her attention on the set of her new movie, decides to break into her apartment and "kidnap" her until she is convinced to love him as he does her.

This seems somewhat straightforward, but most would assume that this would be a terror-filled, disturbing film about stalkers and people who's reality is warped. It is disturbing, but not for those reasons, but rather for its very light-hearted atmosphere and slapstick comedy in the face of this rather serious situation. One might call it a black comedy, but the mood is generally so light, that a better term might be "gray comedy." Marina, though occasionally showing some terror, seems more angry and annoyed at being tied up and kept captive than in fear for her life. One thing ran through my mind when watching this - that quote from Die Hard with the expert commentator on the news talking about how kidnapped victims sometimes go through the "Helsinki Syndrom" and start empathizing with their captors. Well, it does not take all that long for Ricky to actually convince Marina to love him. This again, leads to the very light-hearted and surreal nature of the film, and everything in the film seems to have this quality, almost as if what is happening is not real, but being acted on stage. This relates to the film that Marina is acting in at the beginning of this movie, where likewise, everything is pretty fantastic and unreal.

Other than the shear oddity of this film, the main other noteworthy quality seems to be in its steamy sex scenes with Abril and Bandaras. The film actually got an NC-17 rating due to this, which shows the hypocrisy of the MPAA which gives incredibly violent films like Saving Private Ryan an R, but because of a little sexual content will brand a film with NC-17 and make it hard to sell at the box office in most communities.

The DVD is lackluster, containing no special features except for a Trailer. The anamorphic transfer is a good one, very clear with vibrant colors. The audio is the original mono Spanish and is very clear for a mono soundtrack.

If you are a fan of the offbeat, you may enjoy this film for the shear "different" quality it has compared to most mainstream movies, but its light treatment of very disturbing theme may be too much for others.

"You can't be that kinky."
Pedro Almodovar's film "Tie Me Up, Tie Me Down" stars one of the director's favourite leading ladies--Victoria Abril as Marina--a former adult film star with a nasty narcotic habit. Marina is trying to stay clean with the help of her protective, responsible and non-stop talking sister, Lola. Marina has almost finished making a second rate horror film, "the Midnight Phantom." The film's wheelchair bound director, Maximo is obsessed with Marina. There's something about Marina's fragile sensuality that makes men want to protect and possess her. Ricky (Antonio Banderas)--just released from a mental hospital--is also obsessed with Marina. Ricky decides that he will kidnap Marina and keep her tied up until she falls in love with him.

Of course, there's a fundamental flaw in Ricky's plan, but Almodovar's playful script shows how the obstacles to Ricky and Marina's relationship are overcome. Victoria Abril is--as always--splendid, and Banderas is at his best. As with all Almodovar films, "Tie Me Up, Tie Me Down" is full of great, eccentric characters (the pistol-packing pharmacist, for example), and Almodovar's humour, acceptance and generosity towards human flaws always ensures some sort of good outcome.

"Tie Me Up, Tie Me Down" contains a controversial scuba-diving gadget scene, and many Almodovar fans will note a very similar scene in "Talk to Her." (...). I loved the scenes when Maximo's frustration is shown by his endless circling in the wheelchair, and when he dances in his chair with Lola. The film also includes some amazing Spanish music. Almodovar and Abril fans will not be disappointed in this film--displacedhuman

A loving kidnapping drama...
Ricky (Antonio Banderas), a newly released mental patient, enters society with hope of building a family after have convinced the woman in his life that she loves him. This woman is Marina (Victoria Abril), a former heroin addict and porn star, that is filming a horror film with a director who has recently suffered a severe stroke. Ricky enters the film studio and retrieves Marina's keys, which he uses when he breaks into Marina's apartment and kidnaps her. In doing so Ricky wants Marina to get to know him and fall in love with him as they have had a brief affair once before, which changed Ricky's life.

Pedro Almodóvar knows how to make the absurd feel authentic and in this story he does it well as Marina and Ricky get to know each other. The story is planned down to every last detail as both characters have some heavy luggage from their pasts, which serves as a solid foundation for them to relate and understand one another. Almodóvar uses vibrant colors that improves visual representation of the likes and dislikes between Ricky and Marina as it expands on the audience's understanding of what is going on. There are also several interesting shots that are out of the ordinary as they draw attention to the characters and develop the persona around the characters. Tie Me Up! Tie Me Down! fades away from the silver screen with a good cinematic experience, which can be pondered over a glass of sangria.

Subverting types!
When originally writing this film, Pedro Almodovar asked himself the question "Can love be calculated or sketched the same way one could study for an exam?" This is certainly the conviction of the Antonio Banderas character who seeks to capture his former lover and eventually convince her of her love for him. Although one could initially interpret the theme of the film as overtly misogynist - man tries to physically force woman to love him - gender stereotypes are typically subverted in true Almodovarian fashion.

It would seem that the women are the figures of power in this film and both Ricky and wheelchair-bound film director Maximo are at a loss in trying to seduce the object of their desire in any conventional sense. They are both addicted to Marina, but the only thing she's ever been addicted to is heroin. By the end of the film the Antonio Banderas character is almost totally domesticated, making food, cleaning the appartment, making sure Marina has enough drugs etc.

There's also the reference to the Sacred Heart at the beginning of the film and masochism has often been perceived in some of the more archaic rituals of our Roman church.

None of these subtleties were apparantly noticed by the American classification board who initially wanted to give this film an 'X' rating because of playing with toys in the bath! (?) ... Read more

Reviews (1)

best escenes of the any film
escenes lesbians with victoria abri ... Read more

Amazon.com essential video

This underrated Richard Lester film is really a classic--and one of the most romantic movies ever made. Working from James Goldman's script, Lester casts Sean Connery as an aged Robin Hood, returned after years away at the Crusades with an increasingly mad King Richard (Richard Harris). Robin and Little John (a very funny Nicol Williamson) return to find that the sheriff of Nottingham (Robert Shaw) is up to his old nasty tricks--and that Maid Marian (Audrey Hepburn) is now a nun. Lester brings the same touch to this period film that he did to The Three Musketeers and The Four Musketeers, blending authenticity with a knowing wink at the conventions of period films. But the heart of this film is the very palpable emotion between Hepburn and Connery (and between Connery and Williamson). The ending is guaranteed three hankies, minimum. --Marshall Fine ... Read more

Reviews (22)

Sean and Audrey camp out in the woods
Growing up as a young reader in WASP America, it was inevitable that I should be exposed to the Robin Hood legend. Indeed, it was that tale, along with my young (and imperfect) knowledge of Becket, Henry VIII and his wives, and King Arthur and the Round Table, which first got me to dreaming about visiting England. After my first journey across The Pond in '75 to that green and pleasant land, I was hooked. Thus, it was with great relish that I viewed ROBIN AND MARIAN.

How could one possibly find fault with the casting of this film: Man's Man Sean Connery as the aging, creaky Robin Hood, and the always beautiful Audrey Hepburn as the love of his life, Maid Marian. As a bonus for the viewer, Robert Shaw and Nicol Williamson play the Sheriff of Nottingham and Little John respectively. It doesn't get better than this.

As the movie opens, Robin and faithful pal Little John are off in France attendant to the death of King Richard the Lionhearted (Richard Harris), after having rummaged around with the monarch on the Third Crusade. Richard's funeral over, our two heroes return to Sherwood Forest. Robin soon learns that the new sovereign, wicked King John, has ordered the Sheriff of Nottingham to evict a group of nuns from a local abbey. As circumstance would have it, Maid Marian took the veil in Robin's long absence, and is now the abbey's prioress. Despite his aching bones and stiff joints, Robin sets off to rescue his damsel-in-distress from his old archenemy.

There are so many joys to this movie. One is watching Sean's Robin deal with advancing age. He's still young at heart, but sleeping in the damp, cold forest isn't what it used to be. Both he and Little John are too much "over the hill" for such nonsense, but only the latter, with increasing skepticism, seems to realize it. Then there's Audrey's Marian, who isn't at first sure that she needs the renewed attentions of her old beau. (Audrey is so exquisite! They don't make actresses like that anymore.) The intervening years have even had an effect on Shaw's Sheriff of Nottingham, making him much wiser in his dealings with his rascally nemesis.

Finally, the scriptwriters give their own interpretation to the traditional ending of the Robin Hood story. In their hands, it becomes at least a two-hankie event. Just remembering it now, I'm looking for the Kleenex box. Call me a sucker, but I just ate it up!

Brings Out My Sentimental Side
I liked this movie when it was first released, which answers my sons' challenge that I like Robin Hood as a middle-aged guy because I AM a middle-aged guy. It is everything that a good movie should be. It is well written, well cast and acted, and it holds up as a good story and a good film many years after its theatrical release.I have always thought that Sean Connery was a cocky kid and a not-so-good actor in the James Bond movies, but became profoundly good later in life in "The Rock" and "The Untouchables", and that same developed talent comes through here. He IS the middle aged Robin, a perfectly realized role, as is Audrey Hepburn as Marian. The plot follows Robin's return to England after the death of King Richard in the Crusades. King John (Boo!) is in power and the Sheriff of Nottingham (Robert Shaw)is up to his old larcenous tricks. But now they are "old guys" and their efforts to fuss with each other as in days of yore are sometimes funny and sometimes sad. But the movie is an excellent addition to any DVD library. Technically, the picture has been remastered to modern standards, and if the sound is not DTS, it is acceptable. Good job, but where is the outastanding "Adventures of Robin Hood" with Errol Flynn?? It's long overdue in DVD format.

A wonderful, wonderful movie
This movie is an undiscovered gem. It is not only a beautiful love story, but it is also attempts to present a realistic picture of the age of the Crusades.

The acting is wonderful. The scenery is gorgeous. The audience is treated with respect. The writing is wonderful. You can stop reading now, as this should be enough to make you buy the movie.

Two additional points: the movie contains the best once sentence describtion of the middle age mind set: "he was my king" and watch this movie and you will get Eddie Izzard's joke in his HBO stand up routine.

A great sequel...but to what?
This movie isn't so much a sequel to The Adventures of Robin Hood as it is to The Lion in Winter. James Goldman wrote the scripts for both and he seems to have a fetish for the Plantagenets. This movie opens with Robin and Little John in the service of a very mad Richard the Lionhearted (wonderfully played by the late Richard Harris). They make their way back to Sherwood to find that Maid Marian has become a nun. (A little tip: if, in a British legend, your girlfriend becomes a nun, you just know it is going to end badly.) The only person who seems truly happy to see Robin again after twenty years is the Sheriff of Nottingham (Robert Shaw). Watching him fight Sean Connery again, I felt as if this might also be a sequel to From Russia With Love!

The movie is a very good bittersweet romance between famous lovers in their later years. It is not on the same level as The Lion in Winter, but then, how few things are. Watching it, I was reminded how wonderful it is to see Connery act in a real role - instead of mouthing the inanities they give him now ("Welcome to the Rock!").

It is a very good period piece, made the way the used to make them. For any Sean Connery fan, it is a must.

A CHARACTER STUDY, NOT AN ACTION FILM
In this version of the Robin Hood myth, an aged Robin and Little John played wonderfully by Nicol Williamson return to Sherwood and Nottingham after the death of Richard Lion Heart whom they followed on the Crusades. Upon their arrival, they encounter Tuck and Scarlett, forcibly recruit Marion who's now the Abbotess of a nunnery, and in doing so, re-initiate hostilities with the Sheriff of Nottingham. I can't blame anyone for being disappointed in this film; you hear the name Robin Hood and you automatically expect feats of Zen archery and balletic sword duels between Robin and The Sherriff of N. But while not as dynamic as other Robin Hood films, Robin and Marion is not as facile as those films either. This film is about people; it's not supposed to serve as a visual roller coaster. If you prefer comic books to literature, by all means stick with the Errol Flynn version, because Robin and Marion, while it may not be a great work, is still a good piece of literature. It's about being human and being alive, to which, in this film, the fighting is secondary. And while the fight between Robert Shaw and Sean Connery did look arthritic and clumsy, it was also a lot closer to a real fight than Flynn's bladed flashdance with Basil Rathbone (sp?) ever was. ... Read more

Reviews (25)

Antonio Banderas Was Better When Euro Film Star
I watched Banderas in his European movies before he became an American movie star. I really liked all of his work then whereas now his work is very uneven in quality. "Evita" is the only work of his I've admired since his "conversion." This film was his very best prior to his coming to America. I'll confess that director Pedro Aldomovar's 2 most commerical films, of which this is one, appeal to me more than his other films. The other is "Woman On The Verge of A Nervous Breakdown." Perhaps this is because these two works involve heterosexual love affairs and are also comedic and satiric. They're broadly played but enjoyable for a bigger audience than Aldomovar's work normally gets. Banderas is incredibly sexy in this film as the patient fresh from a mental hospital who wants a regular married life and seeks to find it with a porno star woman. Bringing these two together for a black comedy was a stroke of genius. The Tie Me Up, Tie Me Down in the title refers to the woman's liking kinky stuff and Banderas's literally tying her up and down to the bed. This is a very sexy, romantic even, film and for those who feel Aldomovar's films typically are aimed to please only gays and not straights, this film should convert them to becoming fans of his considerable talent. It will also make them sad that Banderas decided to become an American movie star.

Tie Me Up! Tie Me Down!
Tie Me Up! Tie Me Down! (¡Átame!) is one of the two movies by renown director Pedro Almodóvar (the other being Women on the Verge of a Nervous Breakdown) that got wide attention in the US, albeit in the art house scene. Nothing since Tie Me Up! Tie Me Down! (made in 1990) has gotten nearly as much attention, despite several efforts since than by Almodóvar. Both movies have a similar style, but Tie Me Up! Tie Me Down! is a bit more disturbing as it revolves around a kidnapping.

Marina Osorio (Victoria Abril) is a former porn actor and junkie trying to make a more respectable living as a B movie actor. Ricky (Antonio Banderas), is a troubled youth who has just been released from a mental institution where he had spent the last several years due to his constant running away from orphanages and reform schools. Somehow Ricky has decided that Marina is his future wife and after some very lame attempts to get her attention on the set of her new movie, decides to break into her apartment and "kidnap" her until she is convinced to love him as he does her.

This seems somewhat straightforward, but most would assume that this would be a terror-filled, disturbing film about stalkers and people who's reality is warped. It is disturbing, but not for those reasons, but rather for its very light-hearted atmosphere and slapstick comedy in the face of this rather serious situation. One might call it a black comedy, but the mood is generally so light, that a better term might be "gray comedy." Marina, though occasionally showing some terror, seems more angry and annoyed at being tied up and kept captive than in fear for her life. One thing ran through my mind when watching this - that quote from Die Hard with the expert commentator on the news talking about how kidnapped victims sometimes go through the "Helsinki Syndrom" and start empathizing with their captors. Well, it does not take all that long for Ricky to actually convince Marina to love him. This again, leads to the very light-hearted and surreal nature of the film, and everything in the film seems to have this quality, almost as if what is happening is not real, but being acted on stage. This relates to the film that Marina is acting in at the beginning of this movie, where likewise, everything is pretty fantastic and unreal.

Other than the shear oddity of this film, the main other noteworthy quality seems to be in its steamy sex scenes with Abril and Bandaras. The film actually got an NC-17 rating due to this, which shows the hypocrisy of the MPAA which gives incredibly violent films like Saving Private Ryan an R, but because of a little sexual content will brand a film with NC-17 and make it hard to sell at the box office in most communities.

The DVD is lackluster, containing no special features except for a Trailer. The anamorphic transfer is a good one, very clear with vibrant colors. The audio is the original mono Spanish and is very clear for a mono soundtrack.

If you are a fan of the offbeat, you may enjoy this film for the shear "different" quality it has compared to most mainstream movies, but its light treatment of very disturbing theme may be too much for others.

"You can't be that kinky."
Pedro Almodovar's film "Tie Me Up, Tie Me Down" stars one of the director's favourite leading ladies--Victoria Abril as Marina--a former adult film star with a nasty narcotic habit. Marina is trying to stay clean with the help of her protective, responsible and non-stop talking sister, Lola. Marina has almost finished making a second rate horror film, "the Midnight Phantom." The film's wheelchair bound director, Maximo is obsessed with Marina. There's something about Marina's fragile sensuality that makes men want to protect and possess her. Ricky (Antonio Banderas)--just released from a mental hospital--is also obsessed with Marina. Ricky decides that he will kidnap Marina and keep her tied up until she falls in love with him.

Of course, there's a fundamental flaw in Ricky's plan, but Almodovar's playful script shows how the obstacles to Ricky and Marina's relationship are overcome. Victoria Abril is--as always--splendid, and Banderas is at his best. As with all Almodovar films, "Tie Me Up, Tie Me Down" is full of great, eccentric characters (the pistol-packing pharmacist, for example), and Almodovar's humour, acceptance and generosity towards human flaws always ensures some sort of good outcome.

"Tie Me Up, Tie Me Down" contains a controversial scuba-diving gadget scene, and many Almodovar fans will note a very similar scene in "Talk to Her." (...). I loved the scenes when Maximo's frustration is shown by his endless circling in the wheelchair, and when he dances in his chair with Lola. The film also includes some amazing Spanish music. Almodovar and Abril fans will not be disappointed in this film--displacedhuman

A loving kidnapping drama...
Ricky (Antonio Banderas), a newly released mental patient, enters society with hope of building a family after have convinced the woman in his life that she loves him. This woman is Marina (Victoria Abril), a former heroin addict and porn star, that is filming a horror film with a director who has recently suffered a severe stroke. Ricky enters the film studio and retrieves Marina's keys, which he uses when he breaks into Marina's apartment and kidnaps her. In doing so Ricky wants Marina to get to know him and fall in love with him as they have had a brief affair once before, which changed Ricky's life.

Pedro Almodóvar knows how to make the absurd feel authentic and in this story he does it well as Marina and Ricky get to know each other. The story is planned down to every last detail as both characters have some heavy luggage from their pasts, which serves as a solid foundation for them to relate and understand one another. Almodóvar uses vibrant colors that improves visual representation of the likes and dislikes between Ricky and Marina as it expands on the audience's understanding of what is going on. There are also several interesting shots that are out of the ordinary as they draw attention to the characters and develop the persona around the characters. Tie Me Up! Tie Me Down! fades away from the silver screen with a good cinematic experience, which can be pondered over a glass of sangria.

Subverting types!
When originally writing this film, Pedro Almodovar asked himself the question "Can love be calculated or sketched the same way one could study for an exam?" This is certainly the conviction of the Antonio Banderas character who seeks to capture his former lover and eventually convince her of her love for him. Although one could initially interpret the theme of the film as overtly misogynist - man tries to physically force woman to love him - gender stereotypes are typically subverted in true Almodovarian fashion.

It would seem that the women are the figures of power in this film and both Ricky and wheelchair-bound film director Maximo are at a loss in trying to seduce the object of their desire in any conventional sense. They are both addicted to Marina, but the only thing she's ever been addicted to is heroin. By the end of the film the Antonio Banderas character is almost totally domesticated, making food, cleaning the appartment, making sure Marina has enough drugs etc.

There's also the reference to the Sacred Heart at the beginning of the film and masochism has often been perceived in some of the more archaic rituals of our Roman church.

None of these subtleties were apparantly noticed by the American classification board who initially wanted to give this film an 'X' rating because of playing with toys in the bath! (?) ... Read more

Reviews (5)

Heaven/Hell Can Wait
In one clever twist of fate, two beautiful angels -- one from Heaven and one from Hell -- collide on the road of fate to save the soul for their respective kingdoms in the whimsical DON'T TEMPT ME.

The voluptuous Penelope Cruz stars as Carmen, a man turned into a woman upon her arrival in Hell. However, when the corporate kingpins of the Underworld conspire to seize control of the real 'Land Down Under,' she's given a chance to return to Earth (in heavenly form) for a battle of wits against Lola (played by the equally sultry Victoria Abril), an angel starting to grow weary of always serving as a do-gooder who happens to be sent to Earth to claim the same misguided soul. Together, the two have a quirky comic chemistry (watch the scenes of Carmen trying to teach Lola how to hold a gun) that keeps the picture moving, despite some plotholes along the way.

While TEMPT borders on a kind of comic genius, it never quite reaches the pearly gates of comedy. Again, the script (or the story) is the key, and, while many elements are played very tightly against one another in unique parallels, writer (and director) Agustin Diaz Yanes just keeps missing the mark to raise the bar from the predictable to the unpredictable ... the true benchmark of any great comedy.

Excellent Actors in a Bad Flick
That is right, this film features some of the finest Spanish and French actors/actresses out there, as well as the popular Mexican actor, Gael Garcia Bernal. I suppose I was expecting more out of this dud, but the jokes were not funny, the whole concept was a bit corny, the script was uneven, then ending was dumb, this film was trying to be something that it is not.
It attepmted to come off as an Almodovar/Ozon, stylish, artistic comedy. Way too ambitious. This would have been better as a lowbudget indy flick with unknown actors. Seeing great entertainers like Victoria Abril in a flick that does not measure up to her talent just isn't right.
Get the plot, premise from other reviewers. I suppose it is worth a look if you are a diehard fan of some of the actors in it, but otherwise, avoid.

Big Ideas Poorly Implemented
There was a lot of ideas going into this movie, too many ideas. Heaven and Hell battle over the soul of one man, a disfunctional boxer. Tacked onto this relatively simple plot is a lot of trappings -- glimpses of Hell and Heaven that should have been developed more. With Hell being an English speaking corporation and Heaven being Paris is an interesting concept, it actually proved to be more interesting the dismal boxer story. But we got only glimpses of what the afterlife was like and spent too much time focussed on the less-interesting and less-orignal boxer's fate.
Dogma took on similar subject matter and pulled it off much better. In Dogma the glimpses given of Heaven & Hell (Chris Rock, Alan Rickman, Penelope Cruz, the roller skating hockey playing kids) felt realized. I didn't need more time with Alanis Morrisette's God to understand Her or more time with Jason Lee's character to understand him. Here, I didn't understand the inner workings the afterlife. I had a lot more questions even about the main characters: Abril & Cruz. Even they were not developed well enough and felt more like shards of characters than actual people.

I would not say this movie is bad. It should be given credit for the ambitiousness of its subject matter. But it was handled poorly. The filmaker has lots of potential. This movie doesn't live up to its potential.

An embarrassment to all who star in this...
This film wants to be so much more than it is.
It tries to be clever and inventive, but I personally found it to be nothing but poor.
I would think the stars of this film are embarrassed at its outcome.
Not funny, not clever, juts tacky and poorly filmed.

I found Cruz's character annoying (especially her masculine walk - which is explained at some point), Bernals acting off the mark (when in English) and Abril was not on top form. All of these leads have been in and performed better.

The black and white scenes look cheap, and whilst the constant change of languages (from French to Spanish to English) is interesting for a while, it started to get on my nerves.

I really wanted to enjoy the film, but ultimately I found it to be very disappointing and simply boring.
I didn't even find the films interpretation of heaven and hell interesting - just silly.

In summary, vaguely interesting, but no-where near as clever as it wants to be.

A New Spanish Master of Filmmaking is On the Scene!
DON'T TEMPT ME (or SIN NOTICIAS DE DIOS in the original) is a sparkling, surreal, humorous, and meaty bit of filmmaking of the type that we have come to expect form the Spanish School of Cinema. Augustin Diaz Yanes both wrote and directed this absorbing parable and has cast it with some of the finest talent from around the globe. His use of smart dialogue, choices of cinematic technique, and rapid fire pacing drives this delicious tale along the paths of Bunuel, Almodovar, etc.

The plot: the corporate executives (American profiles of course - though played by British actors like Gemma Jones all speaking in English) of Hell have found a strong need to obtain the soul of a living boxer (Demian Bichir) to join them in Hell. The recruiter Jack (in a terrific performance by the extraordinarily gifted Gael Garcia Bernal) agrees to assign worker Carmen (Penelope Cruz, finally in a role that allows her to demonstrate her broad range of acting skills from drama to comedy) to go to earth to finalize this corporate decision. Meanwhile, in Heaven (quite appropriately filmed in black and white in Paris where the one in charge is Marina d'Angelo played with subtle charm by Fanny Ardant and using French as the language) the elected angel to foster the heavenly admission of the boxer is Victoria Abril (more beautiful than ever and pulling off the heavenly role as a chanteuse with aplomb).

Cruz and Abril move in with Bichir, become involved in the struggle over his soul as well as attempting to thwart the results of Bichir's chaotic life as a has-been, in debt boxer. The remainder of the tale is a back and forth pitting of heavenly and Hadean forces and their bungling of both sides of the pitch for Bichir's soul. As the film ends, both the dark and light angels become transiently human, and we learn what their next steps in their respective afterlives might be.

Appropriately, this 'comedy' has many dramatic sides, as is requisite for a true comedy. But rest assured with a cast of this caliber and the quality of direction of this surrealistic tale you will be thoroughly entertained. It is refreshing to have a movie move in many languages while it parodies the source countries of each language used to tell a story of good vs evil - and all that jazz! ... Read more

Reviews (29)

Very funny movie [5]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

Very funny movie
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

"In my own dirty and silent way, I loved you."
"Kika" (Veronique Forque) is a bubbly beautician who has a poor history with men ("I always get the weirdos"). She lives with photographer Ramon who has a few kinky habits. Ramon has never forgotten his mother's suicide, and he has mixed feelings about his sinister step-father (Peter Coyote). Ramon's ex-girlfriend, Andrea Scarface (Victoria Abril) is the bizarre former psychologist-turned-tabloid-crime-TV-host who continues to show a morbid interest in Ramon's life.

"Kika" is probably Almodovar's most misunderstood film. When I saw it in the cinema, many people left during the controversial rape sequence, and I read several professional reviews criticizing this scene. This scene, however, is essential to the film's message. The character of Andrea Scarface exploits tragedy with no respect for the privacy of the victim--the crime against the individual becomes nothing next to the sensationalistic exploitation of the crime converted to entertainment to be enjoyed by the masses. That said, Almodovar fans should enjoy the darkly comic "Kika" but those fresh to Almodovar should start somewhere else.

Guileless, chatterbox Kika is one of Almodovar's greatest characters. Terrible things happen to her, but she remains basically unscarred by events. As with most of Almodovar films, his female characters are more interesting than the males. The darkly malevolent Andrea Scarface--with her fantastic costumes--is a perfect foil for Kika's perpetually sunny disposition. But there are many great minor characters in the film--there's Kika's devoted maid, Juana ("I want to be a prison matron") who would like to be more than just a domestic servant, and Paul Bazzo ("stop drooling on me")--ex-adult film star and prisoner who escapes during a self-flagellation ceremony. Kika is a wild story--dark, wickedly funny, and kinky. Lots of nudity--this film is not for the easily offended--displacedhuman

Very funny movie [4]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

Very funny movie [3]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it. ... Read more

Reviews (7)

A MUST SEE FILM!!
LOVERS IS A FILM THAT NO MATTER HOW MANY TIMES YOU'VE SEEN IT,
YOU JUST DON'T GET ENOUGH OF IT!

What a stunner!
This is one of the most beautifully-crafted films I have ever seen, and definitely one of the most originally ROMANTIC, without the cheesy cliches and infantile corny-ness one usually associates with the word "romance." Worth repeated viewings.

It shows love not as some kitschy fairy-tale but as a totally random, irrational and unstoppable force of nature, an affliction both self-absorbed and self-transcendent, both gorgeous and monstrous. Flawless cast and dialogue, there isn't a false moment during the entire film. All the more powerful in that it's supposed to be based on a true story---very Spanish!

don't miss this one !
Based on a true story set in Spain during the mid 50's, This is one of the very best films I've ever seen. It has everything: It's magnificently directed by Vicente Aranda, has a fabulous score (Jose Nieto) and cinematography (Jose Luis Alcaine), suspense, drama, obsession, a tasty bit of eroticism, a gorgeous cast (Victoria Abril & Jorge Sanz), great acting, and best of all, it's totally unpredictable. There's no way of guessing where it's leading you so I won't drop any clues.

Let this stupendous work of art surprise you. Film just doesn't get much better than this.

deceptively fascinating
This is the type of film that starts off cute and cozy, but then makes you want to put your head between your legs and hurl in disgust and anger. But if you watch it through, you definately obtain just a little bit more insight into human nature. (By the way, if you like this emotional roller-coaster approach to cinema, check out the Chinese film "Xiu-Xiu")

Never Get Involved With Your Landlady.....
.....especially if she's a highly strung beautiful young widow with lots of sexual experience.

Poor Paco. What on earth is he to do when his young fiancee Trini refuses to have sex with him until they are married? Well, put up with it and hope the wedding day is rushed forward it seems. But then the poor lad goes and accepts a room from the very foxy Luisa who falls in love with him and is well-prepared to relieve him of his pent-up tension. Does he let himself be seduced? Why, of course he does but things get a far more complicated when he in turn falls in love with her.

This is certainly brimming over wth passion and tension and Victoria Abril is very good as the manipulative and ruthless Luisa as is Maribel Verdu as Paco's chaste intended but this, to be quite frank, has such a slow pace and, in places, awkward dialogue that it does need some patience to sit through it all. Also, there is not enough sympathy created for you to care enough about the characters when things start getting very nasty indeed. ... Read more

Reviews (25)

Antonio Banderas Was Better When Euro Film Star
I watched Banderas in his European movies before he became an American movie star. I really liked all of his work then whereas now his work is very uneven in quality. "Evita" is the only work of his I've admired since his "conversion." This film was his very best prior to his coming to America. I'll confess that director Pedro Aldomovar's 2 most commerical films, of which this is one, appeal to me more than his other films. The other is "Woman On The Verge of A Nervous Breakdown." Perhaps this is because these two works involve heterosexual love affairs and are also comedic and satiric. They're broadly played but enjoyable for a bigger audience than Aldomovar's work normally gets. Banderas is incredibly sexy in this film as the patient fresh from a mental hospital who wants a regular married life and seeks to find it with a porno star woman. Bringing these two together for a black comedy was a stroke of genius. The Tie Me Up, Tie Me Down in the title refers to the woman's liking kinky stuff and Banderas's literally tying her up and down to the bed. This is a very sexy, romantic even, film and for those who feel Aldomovar's films typically are aimed to please only gays and not straights, this film should convert them to becoming fans of his considerable talent. It will also make them sad that Banderas decided to become an American movie star.

Tie Me Up! Tie Me Down!
Tie Me Up! Tie Me Down! (¡Átame!) is one of the two movies by renown director Pedro Almodóvar (the other being Women on the Verge of a Nervous Breakdown) that got wide attention in the US, albeit in the art house scene. Nothing since Tie Me Up! Tie Me Down! (made in 1990) has gotten nearly as much attention, despite several efforts since than by Almodóvar. Both movies have a similar style, but Tie Me Up! Tie Me Down! is a bit more disturbing as it revolves around a kidnapping.

Marina Osorio (Victoria Abril) is a former porn actor and junkie trying to make a more respectable living as a B movie actor. Ricky (Antonio Banderas), is a troubled youth who has just been released from a mental institution where he had spent the last several years due to his constant running away from orphanages and reform schools. Somehow Ricky has decided that Marina is his future wife and after some very lame attempts to get her attention on the set of her new movie, decides to break into her apartment and "kidnap" her until she is convinced to love him as he does her.

This seems somewhat straightforward, but most would assume that this would be a terror-filled, disturbing film about stalkers and people who's reality is warped. It is disturbing, but not for those reasons, but rather for its very light-hearted atmosphere and slapstick comedy in the face of this rather serious situation. One might call it a black comedy, but the mood is generally so light, that a better term might be "gray comedy." Marina, though occasionally showing some terror, seems more angry and annoyed at being tied up and kept captive than in fear for her life. One thing ran through my mind when watching this - that quote from Die Hard with the expert commentator on the news talking about how kidnapped victims sometimes go through the "Helsinki Syndrom" and start empathizing with their captors. Well, it does not take all that long for Ricky to actually convince Marina to love him. This again, leads to the very light-hearted and surreal nature of the film, and everything in the film seems to have this quality, almost as if what is happening is not real, but being acted on stage. This relates to the film that Marina is acting in at the beginning of this movie, where likewise, everything is pretty fantastic and unreal.

Other than the shear oddity of this film, the main other noteworthy quality seems to be in its steamy sex scenes with Abril and Bandaras. The film actually got an NC-17 rating due to this, which shows the hypocrisy of the MPAA which gives incredibly violent films like Saving Private Ryan an R, but because of a little sexual content will brand a film with NC-17 and make it hard to sell at the box office in most communities.

The DVD is lackluster, containing no special features except for a Trailer. The anamorphic transfer is a good one, very clear with vibrant colors. The audio is the original mono Spanish and is very clear for a mono soundtrack.

If you are a fan of the offbeat, you may enjoy this film for the shear "different" quality it has compared to most mainstream movies, but its light treatment of very disturbing theme may be too much for others.

"You can't be that kinky."
Pedro Almodovar's film "Tie Me Up, Tie Me Down" stars one of the director's favourite leading ladies--Victoria Abril as Marina--a former adult film star with a nasty narcotic habit. Marina is trying to stay clean with the help of her protective, responsible and non-stop talking sister, Lola. Marina has almost finished making a second rate horror film, "the Midnight Phantom." The film's wheelchair bound director, Maximo is obsessed with Marina. There's something about Marina's fragile sensuality that makes men want to protect and possess her. Ricky (Antonio Banderas)--just released from a mental hospital--is also obsessed with Marina. Ricky decides that he will kidnap Marina and keep her tied up until she falls in love with him.

Of course, there's a fundamental flaw in Ricky's plan, but Almodovar's playful script shows how the obstacles to Ricky and Marina's relationship are overcome. Victoria Abril is--as always--splendid, and Banderas is at his best. As with all Almodovar films, "Tie Me Up, Tie Me Down" is full of great, eccentric characters (the pistol-packing pharmacist, for example), and Almodovar's humour, acceptance and generosity towards human flaws always ensures some sort of good outcome.

"Tie Me Up, Tie Me Down" contains a controversial scuba-diving gadget scene, and many Almodovar fans will note a very similar scene in "Talk to Her." (...). I loved the scenes when Maximo's frustration is shown by his endless circling in the wheelchair, and when he dances in his chair with Lola. The film also includes some amazing Spanish music. Almodovar and Abril fans will not be disappointed in this film--displacedhuman

A loving kidnapping drama...
Ricky (Antonio Banderas), a newly released mental patient, enters society with hope of building a family after have convinced the woman in his life that she loves him. This woman is Marina (Victoria Abril), a former heroin addict and porn star, that is filming a horror film with a director who has recently suffered a severe stroke. Ricky enters the film studio and retrieves Marina's keys, which he uses when he breaks into Marina's apartment and kidnaps her. In doing so Ricky wants Marina to get to know him and fall in love with him as they have had a brief affair once before, which changed Ricky's life.

Pedro Almodóvar knows how to make the absurd feel authentic and in this story he does it well as Marina and Ricky get to know each other. The story is planned down to every last detail as both characters have some heavy luggage from their pasts, which serves as a solid foundation for them to relate and understand one another. Almodóvar uses vibrant colors that improves visual representation of the likes and dislikes between Ricky and Marina as it expands on the audience's understanding of what is going on. There are also several interesting shots that are out of the ordinary as they draw attention to the characters and develop the persona around the characters. Tie Me Up! Tie Me Down! fades away from the silver screen with a good cinematic experience, which can be pondered over a glass of sangria.

Subverting types!
When originally writing this film, Pedro Almodovar asked himself the question "Can love be calculated or sketched the same way one could study for an exam?" This is certainly the conviction of the Antonio Banderas character who seeks to capture his former lover and eventually convince her of her love for him. Although one could initially interpret the theme of the film as overtly misogynist - man tries to physically force woman to love him - gender stereotypes are typically subverted in true Almodovarian fashion.

It would seem that the women are the figures of power in this film and both Ricky and wheelchair-bound film director Maximo are at a loss in trying to seduce the object of their desire in any conventional sense. They are both addicted to Marina, but the only thing she's ever been addicted to is heroin. By the end of the film the Antonio Banderas character is almost totally domesticated, making food, cleaning the appartment, making sure Marina has enough drugs etc.

There's also the reference to the Sacred Heart at the beginning of the film and masochism has often been perceived in some of the more archaic rituals of our Roman church.

None of these subtleties were apparantly noticed by the American classification board who initially wanted to give this film an 'X' rating because of playing with toys in the bath! (?) ... Read more

Reviews (1)

Inside the crooked mind
In the beginning, I thought this was going to be a real tear-jerker about a kindly older brother trying to save his schizophrenic younger brother from life in hospital. He rents a room for him and even leaves his family for a while to care exclusively for sick Lawrence. But there is something creepy about the dedicated Peter, something you see in Jon Hurts shifting, guilt-ridden expression long before it surfaces in the dialogue. Almost imperceptibly the murderous hatred in the older brothers heart reveals itself, and it comes as no surprise when he ends in the same insanity he tried to save the other from. This is a film with very few characters, mainly John Hurt and Julian Sands, who gives a very subtle performance of the schizophrenic. The third "main character" is the huge, dilapidated, oppressive empty flat in an office building where the two live. A film that will make your skin creep next time somebody offers to help you. ... Read more

Reviews (2)

Not even Manolete can save this one!
I love the three great actors in it, but this movie is awful, its cast notwithstanding! The plot's premise is absurd to begin with, its developement too confusing and the final outcome completly preposterous! Thank God both Abril and Banderas show some flesh, so the audience -male and female- won't feel this movie was a total waste of time! Goes to show even the best cinema in the world today -Spain's- has its flops!

well-done film noir with spanish accent
An unusual film noir plot -- this one kept me guessing up to the end. A young man, desperate for money to help his mute younger brother, becomes a gigolo to an older, wealthy woman. The woman is tormented by horrible nightmares, and finally seeks help. Who is using who? A sexy story with great acting overcomes some poor quality production. See this film! ... Read more

Amazon.com

Josiane Balasko wrote, directed, and costars in this lightweight French comedy about a lesbian (Balasko) who falls for a housewife (Victoria Abril) seething over the philandering of her husband (Alain Chabat). The latter is outraged about his spouse's same-sex affair, but over time, the two rivals make peace with the situation--causing Abril's character to throw a hissy fit of her own. This is a cute film that becomes, thank goodness, more interesting as it goes along, challenging comfortable notions about love as a haven from other challenges to the heart. --Tom Keogh ... Read more

Reviews (15)

Some kind of politically-correct morality play?
OK, so the guy's a jerk, but in the end he accepts his wife's female lover as part of the family --- sounds like a new Disney movie to me!

Actually, Josiane Balasko did a decent job directing this film, but casting herself as the truck-driving lesbian was a bit too much! Yes, it was realistic --- but therein lies the problem! Visually, I'd have much rather seen a hot-looking, sexy, dark-haired woman seducing the beautiful Victoria Abril. I mean, to put it a different way: beautiful bodies a more enjoyable film do make!

An OK but not a Very Good Film
This is not a very good film. It is supposed to be a comedy. Unfortunately, Josiane Balasko, so wonderful as Gerard Depardieu's forbidden love interest in Bertrand Blier's "Too Beautiful for You" (1990), shows here that she can be a heavy-handed director, a comedy screenwriter without wit, and a comic actress who simply isn't funny.

This is a movie with no good lines, unforgivable in a comedy. There are, however, two bright lights in the film, the only actors who do manage to be funny: Ticky Holgado, a supporting actor who plays the business partner and best friend of the humorless male lead (Alain Chabat), and the ever delightful Victoria Abril, one of the two female stars of the love triangle (the other being the humorless Ms. Balasko), whose physical displays almost save the film.

Victoria Abril is a wonderful and underrated actress, still breathtakingly gorgeous at age 36 (recognizable to most viewers from Pedro Almodovar's "Tie Me Up! Tie Me Down!"), who displays her physical gifts with wit and abandon. For some people her presence will be enough to justify purchasing this DVD. This writer, in fact, despite his negativity toward the film, purchased the DVD while owning the VHS tape, but he confesses unashamedly to having been secretly in love with Ms. Abril for almost two decades, even with her clothes on.

This film enjoyed an enormous box-office success in France, and has pleased most American movie critics. It is not without entertainment value. But it could have been so much more.

Even a cinnamon twist is not this good!
I had no idea what I was getting into when I got this movie. As a huge foreign film buff there I was taking a gander at this movie and realizing the script was totally hilarious.

Basically it focuses on this married couple who have two children, a French family. And of course, the man, not wanting to offend all of the women he's ever met, sleeps with them all. (Side note, it is actually a compliment when men make passes in France, it is offensive to not do it, it means the female is not worth trying with; interesting huh?)

Anyway, hubby cheats, the devoted wife finds that a dyke passerby can fix things, be there for her, and even have dinner.

A steamy romance ensues with the wife and her new woman and the cheating hubby does not take it to well.

You will laugh your ass off in this movie! I don't want to spoil it, but suffice it to say, I bet the script writer has had a very interesting marriage!

A surprisingly good and funny film...
I've seen this film a few times now. Each time I see it, I show it to a friend who hasn't seen it. They all loved it. Makes me like it that much more when I see them enjoying it.

"French Twist" is about a cheating husband has to deal with the fact that his neglected wife has found another love interest... a woman. That he cheats on his wife on a regular basis is not the issue, to him. His ego and pride being stepped on by the whole situation is the problem and it makes for some very funny material.

The three main characters (Josiane Balasko, Victoria Abril and Alain Chabat) work extremely well together. Just bouncing lines off one another and interacting beautifully. Just when it looks like all will work out another element is added to stir the fire.

The film was written and directed by Balasko who also stars as the "other" woman who's looking for love and destroying a home. Or is she? Chabat is amazingly funny as the philandering husband and Abril is also very good and quite beautiful as the passionate, yet somewhat confused wife.

Check it out for yourself. Don't let the subtitles hold you back. It doesn't take away from the film at all. Get ready to laugh.

Ridiculous Lesbian Fantasy
Anyone who has ever read lesbian erotica will recognize some of the plot elements of this silly movie. The naive, ultrafemme, housewife, who slaves all day for a selfish, uncaring, philadering husband, meets a wonderful, butch lesbian and within a short while (a couple of hours?)is seduced by her charms. Rescuing "straight" women from unhappy marriages is a huge theme of lesbian erotica. It's a rather unbelievable premise, and this movie makes it seem even more implausible. I just did not believe that the homely, overweight, and repulsive Marijo could be irresistable to the gorgeous Loli. It wasn't until I discovered that the director had cast herself in the role of Marijo did I understand- if you were in the position to decide who gets to do love scenes with Victoria Abril would you take one for yourself? Obviously, Josiane Balasko is a smart woman. (It sort of reminded me of a "Seinfield" episode- you know the ones in which ugly, dorky Jerry and ugly, dorky George somehow always manage to get dates with impossibly beautiful women. It's that implausible!)

Overall, this move had some laughs, but its premise was absurd and by the end of the film I detested everyone of these characters. They were just so selfish! As Helen Lovejoy says: "Will someone please think of the children!" ... Read more

Reviews (29)

Very funny movie [5]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

Very funny movie
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

"In my own dirty and silent way, I loved you."
"Kika" (Veronique Forque) is a bubbly beautician who has a poor history with men ("I always get the weirdos"). She lives with photographer Ramon who has a few kinky habits. Ramon has never forgotten his mother's suicide, and he has mixed feelings about his sinister step-father (Peter Coyote). Ramon's ex-girlfriend, Andrea Scarface (Victoria Abril) is the bizarre former psychologist-turned-tabloid-crime-TV-host who continues to show a morbid interest in Ramon's life.

"Kika" is probably Almodovar's most misunderstood film. When I saw it in the cinema, many people left during the controversial rape sequence, and I read several professional reviews criticizing this scene. This scene, however, is essential to the film's message. The character of Andrea Scarface exploits tragedy with no respect for the privacy of the victim--the crime against the individual becomes nothing next to the sensationalistic exploitation of the crime converted to entertainment to be enjoyed by the masses. That said, Almodovar fans should enjoy the darkly comic "Kika" but those fresh to Almodovar should start somewhere else.

Guileless, chatterbox Kika is one of Almodovar's greatest characters. Terrible things happen to her, but she remains basically unscarred by events. As with most of Almodovar films, his female characters are more interesting than the males. The darkly malevolent Andrea Scarface--with her fantastic costumes--is a perfect foil for Kika's perpetually sunny disposition. But there are many great minor characters in the film--there's Kika's devoted maid, Juana ("I want to be a prison matron") who would like to be more than just a domestic servant, and Paul Bazzo ("stop drooling on me")--ex-adult film star and prisoner who escapes during a self-flagellation ceremony. Kika is a wild story--dark, wickedly funny, and kinky. Lots of nudity--this film is not for the easily offended--displacedhuman

Very funny movie [4]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it.

Very funny movie [3]
This is a very funny movie. The characters are very rich. The actors and actresses does a great job. This is one fascinating movie appropriate for all ages. The interaction between all the characters are fantastic and very interesting. I highly recommended it. ... Read more

Reviews (1)

NOTE:The above review is for a different movie!
Ignore the first review. it is for another movie entirely! ..On the Line is an action flick/love story of a prostitute in "Boystown" on the Texas-Mexico border. It has some fine actors and is pretty entertaining....It was made in Texas & Mexico by a director & crew from Spain! ... Read more