The Skin I Live In (review)
I’ve heard this from many a film lover: “Oh, Pedro Almodóvar! He’s such a feminist! He loves women!” I don’t see that. At all.
I’ve heard this from many a film lover: “Oh, Pedro Almodóvar! He’s such a feminist! He loves women!” I don’t see that. At all.
Everything that’s fucked up about American political culture at the moment is hung out in The Ides of March to air like the soiled laundry that it is…
Why the film chooses to dump additional cruelty atop a woman who is at the mercy of violent, vicious men is a mystery.
Shockingly, this is the rare sequel that improves on the original. Granted, that wasn’t hard, in this case, but neither is saying this damning with faint praise.
However crass Disney’s motivation may have been in rereleasing the film, it’s cheering to see that even in this era of awesome home-entertainment setups and increasingly unpleasant multiplexes, people still want to see great movies on a big screen with big sound…
What’s your “number”? Who the fuck cares what anyone’s “number” is? How the hell is it anybody’s business but your own what your “number” is? In what universe is this even a question?

Why does no one ever intone at me and tell me to go to Budapest and wear polyester and smoke cigarettes and get all espionagey, dammit?
grunt grunt grunt *glower* [insert mockney swearing] bash crash punch kick [insert closeup of unshaven stubble]
I’m so excited cuz it’s like Taylor Lautner made a movie just for Team Jacob! Except he’s not a werewolf or anything silly or fantasy like that — he’s a real teenager with real problems. Like being the secret child of top international spies.
Remember Drive Angry? (I hope you don’t.) This is not that movie. This is Drive Calm. This is Drive Cool.