Robert (Banderas) is a skin-transplant specialist who goes against bioethics rules to experiment on a new kind of skin for Vera (Anaya), a young woman he keeps trapped in his home and cares for with the help of his childhood nanny Marilia (Paredes). But everyone has a secret, and Robert's relates to a young man (Cornet) he kidnapped six years earlier following an incident that drove his teen daughter (Suarez) to suicide. Actually, all of this started much earlier when Robert's wife was horribly burned in a car accident.
Continue reading: The Skin I Live In Review
Twelve years ago, plastic surgeon Dr Robert Ledgard's wife was burnt to death in a car crash. Since then he has been trying to recreate a skin that will be virtually indestructible against any assault and damage, a practice that his fellow surgeons have called unethical.
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Samuel (Lellouche) is a hospital orderly trying to become a qualified nurse just as his wife Nadia (Anaya) has been bed-bound in her last months of pregnancy. Then Hugo (Zem) arrives in the emergency room after a road crash, and everything changes. Nadia is kidnapped, and Samuel finds himself in the middle of a war between criminal thugs and a dirty cop (Lanvin). And the one detective (Perrier) who's trustworthy thinks Samuel's involved in a murder. At this point Samuel realises it's useless to clear his name; he just needs to rescue Nadia.
Continue reading: Point Blank [A Bout Portant] Review
Jacques Mesrine (Cassel) is educated in brutality while serving as a soldier in Algeria. With his charismatic personality, he falls into a life of crime with the vicious mobster Guido (Depardieu). While fiercely protective of his Spanish wife Sofia (Anaya), he engages in nasty acts of vengeance and, after a stint in prison in 1962, finds a new wife Jeanne (DeFrance). They embark on a Bonnie & Clyde-style crime spree, travelling from Montreal to Arizona with the officials on their tail. But the Canadian prison can't hold him either.
Continue reading: Mesrine: Killer Instinct [L'Instinct De Mort] Review
Kalin kicks things of in New York, not long after young Antony's birth and right in step with the early disintegration of the Baekeland marriage. Barbara (Julianne Moore) dotes on both her cold genius husband Brooks (Stephen Dillane), the grandson of the Bakelite plastics magnate Leo Baekeland, and little Antony with equal aplomb. By Antony's fourteenth birthday, the Baekelands are discovering naked teens in their son's bed and settling their disputes with carnal bouts in hotel rooms. By Antony's 21st, Brooks has left Barbara for Blanca (Elena Anaya), who's also been with Antony.
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That depends. Do you go to the movies to escape your own problems or do you pay to absorb the dour hardships of others? Land offers a near-two-hour marathon of phony soul-searching by suburban caricatures set to a grating soundtrack of the latest Starbucks-approved pop songs. Interested parties, the ticket line forms to the left.
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The period love story will also feature JUAN LUIS GALIARDO as Cervantes and British actress Geraldine Chaplin.
For Lucía y el sexo -- cleverly twisted around for English-speaking audiences as Sex and Lucía, to put the emphasis on the film's substantial eroticism -- the alternate universe reference is more appropriate than you might think. The story (obviously) centers around Lucía (Paz Vega), a listless waitress who falls in love with a novelist named Lorenzo (Tristán Ulloa), based on the power of his works. She propositions him, soon they're living together and engaging in lots of the titular activity, but then Lorenzo disappears. A cop calls, and Lucía fears Lorenzo is dead.
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Van Helsing ends up as a high-concept adrenaline rush that never stops generating lesser concepts over its elongated 145-minute run time. Wheels start turning when Count Dracula (Richard Roxburgh) funds the creation of the Frankenstein monster (Shuler Hensley) to power a machine that will allow the vampire's offspring to live. The prince of darkness is trying to please his voracious brides, while the final descendent of a line of Transylvanian vampire hunters (Kate Beckinsale) is trying in vain to stake the brute before he ends her life. The wild card in this mix is Van Helsing (Hugh Jackman), a hired gun with a guilty conscience working for the Catholic Church to vanquish various evil beings.
Continue reading: Van Helsing Review
The epitome of everything that's wrong with $150 million B-movies, "Van Helsing" is an inane, soulless, 19th century vampire-hunting action flick of computer-F/X overkill and ham-fisted actors chewing on stale catch-phrase dialogue (when dialogue is even allowed) as if it's a mouthful of bubblegum with the flavor long gone.
Despite being inspired (if you can even call it that) by a character in "Dracula" and lifting a slew of monsters from other classic horror tales too, the picture has little story to speak of -- just a few minutes about Bram Stoker's bloodsucking Count using the electrifying re-animation technique of Mary Shelley's Dr. Frankenstein to zap life into thousands of his gestating offspring that hang in slimy pods all over his castle lair.
So since writer-director Stephen Sommers (who clearly blew all his talent on "The Mummy" -- as anyone who's seen "The Mummy Returns" can attest) couldn't be bothered with anything more than Cliffs-Notes plot and character development, I'm going to respond in kind -- not bothering with a structured review and instead simply listing examples of the twaddle and tripe that pass for script and storytelling in this laughable example of Hollywood's numbing, style-without-substance approach to summer movies.
Continue reading: Van Helsing Review