Mateo (Homar) is a filmmaker who, after going blind, has locked himself in his Madrid flat writing scripts with Diego (Novas), son of his loyal agent (Portillo). Then he hears of the death of wealthy financier Ernesto (Gomez), who 14 years earlier had bankrolled a film project starring his trophy mistress Lena (Cruz), who was desperate to get out of the relationship. Back then, as Lena and Mateo started spending rather too much time together, Ernesto sent his teen son (Ochandiano) to follow them, ostensibly to film a making-of doc.
Continue reading: Broken Embraces [los Abrazos Rotos] Review
Ramón's outspokenness wins the interest -- and the affections -- of a pair of women: Julia (Belén Rueda), the terminally ill lawyer who helps Ramón build his case, and Rosa (Lola Dueñas), a single mother drawn to Ramón out of loneliness and her admiration for his strength. But while the sensuous Julia, herself coping with illness, fully sympathizes with Ramón 's cause, the feisty Rosa sulks and frets whenever Ramón so much as breathes a word of his intentions.
Continue reading: The Sea Inside Review
After creating from scratch two breathtaking metaphysical thrillers in a row -- "Open Your Eyes" and "The Others") -- writer, director and composer Alejandro Amenábar's return to the big screen is rather disappointing: "The Sea Inside" is little more than a routine disease-of-the-week biopic.
Javier Bardem ("Before Night Falls") gives a tour-de-force performance as quadriplegic Ramón Sampedro, who, after 30 years in bed, wishes to die with dignity, but the film never shows any indignity. In fact, his life looks pretty good under the circumstances. He has beautiful women -- a lawyer (Belén Rueda) and a local woman (Lola Dueñas) who was inspired by Ramon's television appearance -- fawning over him, and a book of his poetry has just been published.
Amenábar manages one great scene in which Sampedro argues with a wheelchair bound priest, sending a messenger up and down the stairs with sacrilegious pronouncements. Otherwise the movie wishes only to make a soapbox stand about whether or not humans have the right to decide our own deaths, and never comes to terms with the how or why. It's very simple and streamlined, and all that's left is Bardem's bid for Oscar glory, emoting from his bed using only his eyes and his voice.
Continue reading: "The Sea Inside" ("mar Adentro") Review
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