BootDigest Such a frustrating disappointment

Reptileenbu Did you people see the same film I saw?

Console best movie i've ever seen.

Portia Hilton Blistering performances.

Robert J. Maxwell Never mind the salacious title. There's not much simulated sex and no nudity at all. It's not a soft-core thriller. What it is, is nicely executed and confusing.It owes something to Hitchcock, from the credits, which resemble those of Saul Bass, to the lush orchestral score which borrows heavily from Bernard Herrmann, chiefly "Vertigo" and "Taxi Driver." I was half hoping for a lot of the disgusting gratuitous nudity that everyone complains about an it opens promisingly enough -- a group therapy meeting of "sex addicts" in which everyone has a different story. Among the group's member are Javier Bardem and Victoria Avril. Avril's story is that, as a young girl, she helped a butcher tie the knot in his tie just before his wedding. He became excited and balled her three times in the back of the butcher shop. "Everything smelled of meat." Since then she's had one affair after another, even though she's married to a police officer, Carmelo Gomez. I forget what Bardem's story was but it couldn't have been as interesting.Then all sorts of tsuris follows. I frankly was lost. Bardem has a problem with some kind of illegal tapes -- or something. The few clips we see don't look very illegal. One shows an ordinary boxing match. A dead body turns up in the trunk of an unused car, in the front seat of which Bardem and Avril have been spontaneously coupling, so we're told. (We don't see anything.) Avril's husband, the cop, is trying to track down the murderer and, after discovering his wife's affair with Bardem, does all he can to pin it on Bardem. It leads to some tense moments.I don't think I'll describe the resolution. At least I understood it, I think. I still don't know exactly how or why it reaches the point it does, but I'm sure of one thing -- it does reach that point.Bardem is pretty good. I'd only seen him as the cold-blooded hit man in "No Country For Old Men." In that essay, he spoke slowly with a slight gargle in his voice, his face expressionless, his hair combed slantwise over his forehead, his big dark eyes dominating his features. Here, he's a rather ordinary screenplay writer who speaks at a normal tempo and looks like anybody else. I was impressed by the difference in his approach to the two contrasting roles. It's what's meant by "range" in acting.Victoria Avril is now middle aged, no longer the young lady of "Tie Me Up, Tie Me Down", but she's still beautifully and unwittingly sexy. She wears a semi-startled expression throughout, as if she were a frightened bird in a cage. It suits the role.There are still several points, some of them important, that I'm unclear on, but I've taken steps to correct this by enrolling in a therapy group that promises to promote viewer comprehension.

g_venturi "Hommage to Hitchcock"? Are you sure people? Hitchcock has been one of the greatest film directors ever, and his movies are still evocative and compelling today. This is something that we cannot say about "Entre las piernas", for mainly two reasons:1)It completely lacks in imagination. The plot is very predictable at each step, except the last scenes, when we discover the identity of the killer. Overall, we are never thrilled by the story. 2)The main characters are flat, not to speak about the secondary ones... The story starts in the psychotherapy room, but it fails in really explaining the "why" of their illness, which could have been very interesting. The secondary characters are simply ridiculous.Overall, I was very bored by the movie even if the content was meant to be pruriginous. The only notable thing is the skill of V. Abril and C.Gomez as well. You can simply avoid to see this movie, move to something better!

meitschi When I read the title and a short description in a Budapest program magazine, I prepared for a darkly erotic love story. "Entre las piernas" did have such elements, of course, but still turned out to be something completely different.As soon as the (beautifully designed) titles started, it became evident for me that this film was going to be a hommage to Hitchcock an his films. The same everyday beginning that entails lots of unexpected turns; the same play with identity and culpability, the same insecure atmosphere where things happen to the characters that destroy their everyday world - even the music was Bernard Herrmann-style! Of course, directing and camerawork were not at all on the same level than in Hitchcock's films, but the perfect screenplay was indeed. The actors were also great and seemed to like their roles. I didn't like Javier Bardem in "Before Night Falls" but here he was really cute... :)I would absolutely recommend this film to everyone who likes clever psychological thrillers and also to all people who love Hitchcock's films and are familiar with his work.

onelar My advantage, I do not speak very much Spanish, and more than 80% of the dialogue went over my head... The acting of Abril, however, was so intense and comprehensive, the way her lips quivered, the "realness" of her unexpected "jerkiness" from time to time, and the scene in the "club" followed by the double entendre'd pretensiousness with her husband. It kept me interested for almost two hours. I may not have got it right, but there were multiple plot layers that "dovetailed" without the insulting forecasting which is generally evident in American movies. And, like I hinted, maybe my advantage was that I did a kind of "speed listen" instead of listening to every word. And, the male lead did an equally great job.Loved it tremendously. Hope it never gets English subtitles. I like what my imagination filled in for me!