Critic Reviews

70

Metascore

Based on 37 critic reviews provided by Metacritic.com
90
Ultimately an original film that forces us, time and again, to reconsider what we think we've just seen, and what we're sure we feel - not only about mere appearance, or fateful gender, but about who, under our skin, we truly are.
88
Even when the film's frigid elegance, perfectly captured by cinematographer José Luis Alcaine, becomes off-puttingly clinical, Almodóvar's passion burns through. The skin he lives in is alive to challenge no matter what warped form it takes.
88
By the end of the movie, when all your questions have been answered, you're left with the exhilarating high of having been manipulated by a gifted artist in a diabolically dark mood.
88
Spanish master filmmaker Pedro Almodóvar offers up a grisly Halloween trick-and-treat in his first full-out horror movie, an eye-popping and genuinely shocking gender-bending twist on Alfred Hitchcock's "Vertigo.''
83
Allusions to "Vertigo," "Rebecca," and Georges Franju's great 1960 French horror movie "Eyes Without a Face" are intentional: The Skin I Live In is, above all, the creation of a movie fanatic who loves to look.
75
Pedro Almodóvar is one of the few filmmakers with the ability to infuse the screen with his own consciousness, and to see The Skin I Live In is to enter into his nightmare.
75
Aside from his usual bold color schemes, Almodóvar has managed a remarkably restrained telling of what's in essence a sci-fi psychosexual melodrama set in the very near future of 2012 Toledo.
75
Though I usually take pleasure in Almodovar's sexy darkness, this film induces queasiness.
70
Though Almodóvar has retained the creep factor of his source material, he hasn't fully embraced its darkness.
63
As coldly calculating and infuriating as it can be, the film and its production design are stunning. But characters' actions and motivations are beyond comprehension.
60
Almodovar makes some missteps in his icky mélange of melodrama and mischief, but the end result is playfully devious.
50
Like many lab experiments, this melodramatic hybrid makes for an unstable fusion. Only someone as talented as Almodóvar could have mixed such elements without blowing up an entire movie.

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