Luis Tosar - Ahead of the release of the upcoming film, ‘El Nino’, actor Luis Tosar attends a photo-shoot wearing a simple blue polo shirt. Tosar is a legend in Spanish films, although his only American film credit to date is 2006’s ‘Miami Vice’., Spain - Madrid, Spain - Tuesday 26th August 2014
Even though the central character is somewhat undefined, this film is a thorough creep-out, playing on our vulnerabilities while making the villain the most sympathetic person on-screen. Balaguero is one of the directors behind the [Rec] series, and knows how to unsettle his audience with atmospheric, skin-crawling sequences that are made especially visceral due to the realistic acting.
An impressive presence in the prison thriller Cell 211, the Bolivian political drama Even the Rain and as a drug kingpin in the Miami Vice movie, Spanish actor Tosar stars as Cesar, the likeable doorman at a creaky Madrid apartment block. But he secretly despises the residents, and is quietly destroying their lives, tormenting an elderly woman (Martinez) and her two beloved dogs, brutally threatening a young girl (Almeida Molina), and casting suspicion on mother-and-son cleaners (Fernandez and Morilla). But his biggest plan is for Clara (Etura), the sexy young woman in flat 5B. And while her boyfriend (San Juan) is away on business, he lurks in the shadows of her apartment plotting something unspeakable.
Director Balaguero keeps the film on low boil, refusing to explain everything in the plot while quietly twisting the moody tone. Every scene is a bundle of insinuation that suggests something truly nasty, and it's refreshing that Tosar never tries to make us understand what Cesar is up to: we see why everyone likes him, and also why they should be terrified of him. We only ever get a vague idea of his overall plan, but the things he does along the way are sinister enough to keep us nervous. As are hints that he may have done this before.
Continue reading: Sleep Tight [Mientras Duermes] Review
Costa (Tosar) is producing a Spanish film that's shooting on location in Cochabamba, Bolivia. Writer-director Sebastian (Garcia Bernal) is insisting on raw authenticity to recount the story of Christopher Columbus' first encounter with Native Americans, and subsequent dealings between locals and the priests and conquistadores. For a lead role, he casts the indigenous Daniel (Aduviri), who spends his spare time campaigning against a British-American corporation that controls Bolivia's water, including poor people's right to collect rain water. And the brewing riot could disrupt the film's schedule.
Continue reading: Even The Rain Review
Juan (Ammann) is a 30-year-old who has taken a job as a prison guard to support his pregnant wife Elena (Etura). But during his first tour of the cellblocks, a riot breaks out and he's stuck in a cell that has a dark history. Now surrounded by marauding inmates led by the charismatic Malamadre (Tosar), Juan pretends to be a prisoner himself. And as a violent guard (Resines) and a weaselly government official (Moron) show their true colours, Juan starts to take the prisoners' side. Then the situation takes some violent turns.
Continue reading: Cell 211 Review
Born in a rugby-mad Welsh mining town, Howard Marks (Ifans) knew he didn't fit in and proved it by getting into Oxford against the odds. There he immediately falls into the early-1960s brainy/druggy crowd, dealing marijuana but never anything harder. Despite efforts to go straight, he continually returns to trafficking, arguing that it's not a crime to break an immoral law. But his associations with a notorious IRA terrorist (Thewlis) and a rule-bending Indian businessman (Djalili) attract the attentions of a tenacious American agent (Tosar).
Continue reading: Mr Nice Review
In the 1970's Howard Marks was one of the biggest weed smugglers in the world but the Welshman from the small town of Kenfig never indented to become such a major player in the industry. In the beginning Marks started out as a relatively minor drug dealer, supplying small amounts of dope but as his connections began to grow more opportunities became available.
Continue: Mr. Nice Trailer
A lone man (De Bankole) is on a mysterious mission, flying into Madrid then travelling to Seville and Alicante. Along the way, he has a series of clandestine meetings with a nervous violinist (Tosar), an enigmatic blonde (Swinton), a naked seductress (de la Huerta), a British guitarist (Hurt), an edgy Mexican (Garcia Bernal), a silent driver (Abbas) and an arrogant American (Murray). But he's all business, never distracted from his assignment and quietly hearing the philosophy that seems to swirl around his every move.
Continue reading: The Limits of Control Review
The Limits of Control, the 11th feature by the New York-born auteur Jim Jarmusch, is another work that is inarguably stamped by its director's idiosyncrasies and, like Volver, there have been several critics who have questioned if its artistic success is not so much a result of it being a Jarmusch film rather than simply a good film. It emits a dark-shade cool, as befits any Jarmusch joint, and it features several of the director's usual performers, including the Ivorian-born actor Isaach De Bankolé in the lead.
Continue reading: The Limits of Control Review
We meet Pilar (Laia Marull) as she is grabbing her child, clothes, and a few belongings. She escapes to her sister's house, who quickly understands the problem: Pilar's husband, Antonio (Luis Tosar). Pilar's sister, Ana (Candela Peña), confronts Antonio when he comes home to find his wife and son gone and his sister-in-law packing up some remaining items. Antonio tries to get back with Pilar and begins to go to group therapy for spousal abuse. Soon enough, they are back together, much to the chagrin of Ana. At first, their restarted life is full of passion and love, just like when they were dating. Pilar takes a job as an art museum tour guide and cashier with her friends Rosa and Lola (Kiti Manver and Elisabet Gelabert, respectively) and Antonio attempts to find the roots of his anger. Soon enough, however, Antonio's anger begins to show its ugly head.
Continue reading: Take My Eyes Review
I didn't see it in France, but I waited, and waited, and waited for it to come to the U.S.
Continue reading: Angel Of Death Review
Carlos "Santa" Santamaría (Javier Bardem), José Suárez (Luis Tosar), and Paulino "Lino" Ribas Casado (José Ángel Egido) congregate in fellow ex-worker Rico's (Joaquín Climent) makeshift bar for what might be group therapy among fellow ex-boatyard workers approaching 50 but with zero bank balances. They commiserate together, share woes and complaints, and listen to each other's rage at the circumstances of their discharge from the port city's now-defunct shipyard. It's a self-support group for the disenfranchised that occasionally becomes a "gang that couldn't shoot straight" for much needed comic relief. But there's not enough of that for this film to go the way of The Full Monty, which it may have aspired to.
Continue reading: Mondays in the Sun Review
Inspired by real laid-off shipyard workers desperately clinging to a sense of personal dignity while entering their third year on the government dole, the melancholy Spanish import "Mondays in the Sun" is thick with powerful, understated, deeply empathetic performances -- and it needs them. It's hard to feel sorry for a bunch of welfare cases who sit around drinking and barely even trying to find new jobs.
Perhaps not being familiar with the particulars of the Spanish economy provides a major disadvantage to fully understanding the characters that populate this film, which swept the 2002 Goya awards. But writer-director Fernando Leon de Aranoa doesn't seem to provide any reason beyond pure frustration and lack of momentum for his handful of sad sack laborers to spend much of their lives in a bar.
Bearded, burly, somewhat unscrupulous but full of pride and wasted intelligence, Santa (played by the impeccably poignant Javier Bardem) is a cauldron of quietly boiling indignation who exhausts his energy tilting against the system and denying his own accountability. In the course of the movie, he applies for not one job, yet he continues to fight a vandalism charge years after smashing up a streetlight during a strike -- on the grounds that the violence was the company's fault for enraging him.
Continue reading: Mondays In The Sun Review
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