User reviews

The words surreal, strange, fantastical and bizarre have been associated with Pedro Almodovar's cinema along with longing, fragility, fluidity of gender, and the search for one's individual sexuality in a world filled with variations from the "norm." His 2011 movie THE SKIN I LIVE IN encompassed all those terms and I for one was deeply touched by that exceptionally idiosyncratic film. On the other hand, I'M SO EXCITED is Almodovar on his tiptoes – LIGHT and FROTHY. I do not deny that the movie made me laugh out loud, but it never made me ache with confusion and pain. It never touched me beneath the skin I live in.

The bouncy, brightly colored, whimsical, animated opening credits put a smile on the audiences' faces, setting the mood for the craziness that was to come. The movie bolts onto the screen with cameos by Airline workers, Penelope Cruz and Antonio Banderas, two of the finest actors in Almodovar's repertory. But their cameos are basically a "schtick" - an eccentric bit - with no relation to the rest of the movie, except as a sign that we are about to be launched on a wild ride.

We meet the flight attendants and passengers of Peninsula 2549 – an Airline like no other - bound from Spain to Mexico, and discover early on that there is trouble with the plane's landing gear which puts everyone at dire risk as the plane circles round and round looking for a place to land. How the crew and passengers deal with the end-of-life/ tying-up-loose- ends business goes to the heart of this comic allegory. Life goes on in the midst of probable death so everyone - actually everyone who is not in Economy Class (they are drugged and asleep) - lets loose and are plied with drinks, drugs and engage in sex – a feast of debauchery including gay and straight sex, anonymous and public couplings. We are privy to personal histories, infidelities, lies and scandals – humanity with all its human failings flung out like baggage for all to see and hear.

Three of the Flight attendants who are all gay, function as a Greek Chorus – commenting on the action, and entertaining the travelers with a wonderfully kinky and freaky rendition of the Pointer Sisters song "I Am So Excited." These flamboyant stewards are the focus of the movie – their struggles with morality, philosophical musings, religion, and libidinal urges make for a tender, extravagant burlesque. There is also a Cassandra-like character – a predictor of future doom that nobody wants to hear, because the underlying truths make everyone uncomfortable.

I love that Pedro Almodovar works on films that are unpredictable. He experiments with all kinds of genres – some are secret and intimate and others are open and "cosmic". I admire that he does what he wants and each movie is a challenge. Immediately after the movie ended, I felt that this comedy was both hilarious and often too obviously "over the top." On further reflection, I realized that what I had perceived as superficiality was a strongly structured jab at our human vulnerabilities – delivered with jest and generosity – all the better to grasp and hold you.

Sometimes you go into a movie simply wanting a little fun. After so many years of Pedro Almodovar making twisted psychodramas and searing romances, often to acclaim like Academy Award nominations/wins and film festivals across the world, we now have a total screwball comedy that is another 'bottle' comedy from summer last year (remember This is the End all staged in one place). It's a filmmaker not going for anything serious, anything too deep, anything that will be About The Human Condition (in caps). And if there is, that's icing on the cake. This is just about farce, in the lightest ways for this filmmaker now in his latter years.

Here you get to see what these characters do at the end of their self-involved ropes. There's a lot of energy and a lot of silliness with these characters, played by actors who are familiar players in this director's oeuvre, but the sketches click mostly. It's only when Almodovar leaves the plane for a scene where a character calls a woman and we see her story for a bit that it drags and loses its energy.

But those male flight attendants are hysterical, in timing and how they express everything as BIG and frantic as possible, and when the music number of the film's title hits it finally releases one of only thinking of the song as that scene from Saved by the Bell (or maybe it's just for me it did). Fast, loose, and knowing how goofy it is, its movie-making that hits the spot at the end of a long day and maybe with a little drink on the side (minus he mescaline).

This movie is very funny, and yes, very light. Therefore, if you go to theater expecting another "Todo sobre mi madre", please be aware that you will be for sure highly disappointed - so maybe you should do something else. This is an "Airport" disaster movie, set in Almodovar's world and populated by his trademark characters. You can easily imagine the final outcome, don't you?

I found the result of this crossover wildly entertaining, and refreshing. But not silly: a couple of themes thrown in the story – the ones related to the supposed financial crimes of one of the characters - gave me the feeling that Almodovar is trying to say something even about the current situation of Spain and Europe (and the setting of the last scene, with all those empty interiors, that shameful waste of money, looks like a clear statement from the author about what should be actually called a "disaster" in nowadays world).

I am not Spanish: so maybe what I think about the relevance of Pedro Almodovar's work for Spanish culture could easily be wrong. Still, I am under the impression that you can hardly find in the whole world another artist that has so single-handedly influenced and changed the mindset of a country like this man has done for Spain in the last thirty years (and it's a long way, from "Marcelino pan y vino" to Agrado and his sisters). In my opinion, Spain has been made a better place, by the Almodovar revolution. God bless him.

"I'm So Excited!" from 2013 is not Almodovar's best effort - it's as raunchy as it gets, and it seems like it's on the light side for him. It really isn't, if you understand Spanish politics.

The plot concerns a flight from Madrid to Mexico with an economy class that's been drugged so they'll sleep through the flight and won't become restless, and a first class with just a few people in it. Those people consist of a dominatrix, a virgin psychic, a man escaping from bank fraud, an actor, a couple on their honeymoon, and a man who describes himself as being in the security business.

They are attended to by three gay male flight attendants who at one point lypsync and dance to "I'm So Excited." They also pass out Valenciana cocktails with mescalin in them.

It seems that the plane might not land - there's a problem with the landing gear and the pilot is frantically seeking an airport where he can make an emergency landing.

Someone described this as a gay Airplane! and I suppose in a way it is. Almodovar I think was saying that the economy class (i.e., the poor) are kept unaware of circumstances. The wealthy people in first class are awake and, if not in control, at least they know what's going on.

If you're not a fan of Almodovar, you will undoubtedly hate this. I liked it - I'm not one for raunchy, sexual humor -- but because I like Almodovar and his quirkiness, I put up with it. I have to say the guys' rendition of "I'm So Excited" was hilarious - I watched it a couple of times. Also, Miguel Angel Silvestre, one of my favorite actors, plays one of the honeymooners. Antonio Banderas and Penelope Cruz have cameos.

Almodovar isn't for everyone, but he's an intelligent director with an offbeat sense of humor. If you're unfamiliar with him, I recommend you start with "Woman on the Verge of a Nervous Breakdown" or "All About My Mother," or the wonderful "Volver."

A plane has problems with the landing gear and so it is circling around waiting for a landing path. And while waiting for the landing the crew and the passengers do and tell a lot.

I read the movie is also supposed to be a farce of Spanish politics. Since I know absolutely nothing about Spanish politics I have missed it all. Maybe if I was familiar I would have liked the movie even more.

But it was still entertaining. My favorites of the movie are the flamboyant flight attendance. They have a great comedic presence and timing. I think one of my favorite parts of the movie is when they perform "I'm so excited" for the passengers.

At the same time it didn't bring as much humor with the passengers. They were all outrageous characters but it didn't go too far and we didn't get to connect too much with them. Of course this is a farce comedy and one shouldn't expect too much depth but I feel a little more could have been done.

Still it is a pretty entertaining and unique comedy. I would recommend it for people who aren't too offended by sexual humor and enjoy some lighthearted comedy.

I ignored the reviews for this flick which were mostly unfavourable figuring that Almodovar is not everybody's cup of tea. On this occasion alas I have to agree. I'm assuming this is meant to be an out and out comedy (there was a fair amount of laughter in the cinema) but to me the material was over reliant on cheap, sensationalist blowjob and gay sex gags a kind of x rated Carry On film with none of the charm and simply not funny enough.

I figure that Almodovar fans like myself will watch this regardless of the poor reviews, as for those Almodovar virgins who may be contemplating popping their cherry avoid this and check out the great man's back catalogue.

Uneven, but a lot of fun, with some serious thoughts about politics, class and the economy of modern Spain nicely hidden in the mix of sex and absurdity.

This (very intentionally) hearkens back to Almodovar's anarchic, rough edged early sex farces like Pepi, Luci Bom, but now he's re-approached that kind of story with the technical mastery of a lifetime making ever more sophisticated films.

That cuts both ways. On one hand the gorgeous color-popping polished visuals, and high- level performances make this even more of a joy to watch. On the other hand, it's very smoothness takes some of the bite out of Almodovor's early punky biting the hand that fed him, pushing the limits of film in post-Franco Spain.

But forgetting all that serious mumbo-jumbo, this is fun sexual and political farce, 90% of which takes places on an airplane that may be doomed. Led by three very funny, very gay flight attendants determined to keep the upper-class passengers distracted from what's really going on, using everything from musical numbers to mescaline (the economy class passengers have simply been drugged and put to sleep; a heavy handed but effective comment) – the flight gets wilder and wilder as those ruling class passengers reveal their secrets – sexual, social and personal - and their libidos. As do the flight crew.

Certainly not Almodovar's best work, but often filthy, funny and smart. And if a good number of the jokes don't quite hit, those that do, will sometimes make you laugh, and others will make you smile ruefully.

In a flight from Spain to Mexico, the pilots and crew are bi-sexual or gay and all have sex problems. When they learn that the landing gear is stuck, they try to find an airport for an emergency landing. A few passengers discover that they may die and some of them contact their families; others have sex.

"Los amantes pasajeros" is an unfunny and disappointing comedy by Pedro Almodóvar. The storyline is silly; the characters and non-likable and not funny; most of the jokes are about sex among gays. The cameo of Antonio Banderas and Penélope Cruz is limited to a couple of minutes only to give their names to the credits. The most impressive is that after 90 minutes running time, I was unable to laugh. My vote is three.

Title (Brazil): "Os Amantes Passageiros" ("The Passengers Lovers")

This film is about the pilots, business class crew and business class passengers on a fateful flight to Mexico City.

"Los Amantes Pasajeros" tells a really funny story about eleven clichéd characters on a transatlantic flight. There is much alcohol, drugs, camp characters and of course lots of sex (both gay and straight). The plot is so hilarious that no one can take it seriously! Every business class passenger has a story, and a distinct personality. When they are trapped in the flight, literally hell breaks loose. I really like the three flight attendants, they are just so funny! When the plane was going to land, I could not believe it was already 90 minutes into the film - I thought it was just 30 minutes in! The journey was so hilarious that time just flew by at sonic speed.

"Los Amantes Pasajeros" is very unlike other Pedro Almodóvar films, in fact I don't even remember him making such a camp and fluffy comedy before! I really loved every minute of it.

The film begins with the line, 'Everything in this film is fiction and fantasy; any resemblance to real life is purely coincidental'. This is acclaimed Spanish director Pedro Almodovar's opening conceit, his attempt at irony, for what is undoubtedly his worst film to date.

Billed as 'A feel-good celebration of human sexuality', it neither perks you up, nor entices you to pop a cork. It is devoid of wit, originality and skill. I laughed not once. I came away feeling low and full of regret.

The story – if one can honestly call it that – is this. A technical fault causes an aeroplane to fly around in circles until a clear runway is found for a safe landing. Meanwhile the all-gay crew entertain the eccentric passengers – everyone from a former Dominatrix called Miss Take (hah hah), a virginal clairvoyant who claims she can smell death, a disgraced business man, a Mexican hit man and a drug mule.

The crew's awful burlesque of the famous Pointer Sister song (which the film usurps for its title) – meant to be the film's pinnacle – turns out to be its nadir. But no. Lower depths are found, thanks to the stream- of-consciousness plot, which is a stream of banality and embarrassment. One of the crew has the bright idea of spiking passengers' drinks with the drug mule's mescaline pills – but not without first nosing to check how well they were smuggled.

Ennui becomes too much for some who decide – I think influenced by the pills – to let carnality take over. I should have joined the elderly gentleman who left as soon as the clairvoyant did what she really ought not to have done to the sleeping man. But, like a man determined to confront a phobia, I stayed to endure the nightmare.

Please do not think this is one of those so-bad-you-must-see-it films. In case my diatribe has still not convinced you to stay away, tell me if you find this funny. A steward wipes something from the lip of another steward who has just visited the bisexual pilot. Disbelieving the reason for his disappearance, he licks his finger to confirm what he thinks it is. (Let me provide a clue: it isn't milk.)

Any fool knows that a joke is not always funny in another language. So, if nothing else, Almodovar proves that the worst of American humour is a whole lot worse in Spanish. Worst of all, 'I'm so Excited' manages to be something which most films, no matter how immoral or subversive, cannot be: pointless.

www.moseleyb13.com

I'm So Excited is every frame a Pedro Almodóvar film (Talk to Her, Volver, The Skin I Live In): bizarre characters are painted in warm, luscious hues; politically incorrect dialogue are infused with a hint of cheerful irreverence. This saucy Spanish comedy revolves around three gay stewards, two bisexual pilots and a flurry of passengers bound for Mexico.

The main narrative occurs against the backdrop of the plane interior itself. When the landing gear of Peninsula Flight 2549 malfunctions, sexual tensions escalate and inhibitions are shed in tandem to the knowledge of impending death and doom.

We meet the trio of raging queens Joserra (Javier Cámara of Talk to Her), Fajas (Carlos Areces ) and Ulloa (Raúl Arévalo), chief pilot and Joserra's married lover Alex, his co-pilot and one-night-stand Benito. Seven passengers venture in-and-out of the cramped and narrow-spaced cockpit to interrupt this nervous dynamic. Hyper sensitive virgin psychic Bruna (Lola Dueñas) reacts to her powers of ESP and detects the "smell of death" in certain parts of the plane. Norma (Cecilia Roth), a demanding corporate highflyer in business class has mysterious connections to the oligarchs of Spanish society; she fears the malfunction is an assassination attempt to bury the secrets she knows as a high-end dominatrix. A mysterious and nameless Infante, scandalous middle-aged celebrity Ricardo, troubled husband and father Sr. Más and a pair of dopey, drug smuggling newly weds occupy the rest of Flight 2549's fuselage.

Attempts to communicate with family and loved ones ground below are made possible by the only cabin handset that functions — but conversations can be heard over the PA system. This narrative device connects passengers in the plane to various characters on the ground; thus giving shape to back stories that serve to stress and accentuate the panicky mood unfolding within the plane.

This latest offering by Almodóvar is an unbridled, satirical film with flashes of political and sexual humour. In many ways, I'm So Excited is a valuable testament to the hedonistic cultural wave of La Movida Madrileña (the famous Spanish 80s) where freedom of expression, transgression of taboos imposed by the Franco Regime, use of recreational drugs all exist to celebrate a new spirit of freedom in the streets of Madrid.

Far from existing in a farcical vacuum, it would be prudent to consider the historical undertones in this excellent film — it is a subtle reminder of how far the Spanish identity has since evolved in post-Franco years.

cinemainterruptus.wordpress.com

'I'm So Excited (2013)' represents somewhat of a 'regression' for Almodóvar, a return to the crass and transgressive comedies of his early career. That's not necessarily a bad thing, though. The affair is a simple, somewhat succinct and certainly straightforward romp meant for one purpose: entertainment. It's a colourful, camp and comedic tale about the people on board a malfunctioning flight that's forced to circle the skies while waiting for an airport to become available for an emergency landing. The core cast of characters are quirky and distinct, painted with broad strokes yet painted vividly nevertheless. They all undergo slight yet certifiable character arcs, which helps to create a cohesive and satisfying overall experience. It's not the sort of thing that will stick in your memory, but it's undeniably fun and that's all it's ever aiming to be. It's lesser Almodóvar, for sure, but it's still a good time. 7/10

The good news: there need never be another argument about which film is Pedro Almodovar's worst. The bad news: this is abominably awful. My guess is that Almodovar just wanted to make a fun comic trifle, and more power to him. Unfortunately, the result is just so friggin' lame. Barely a single laugh to be had and so vapid it hurts. Hey, at least it still looks like an Almodovar film. A bunch of people in the business class of an airplane discover that their landing gear is severely damaged, so they decide to party it out with the crew. The English language title is a reference to the popular song, which plays during the film's most amusing sequence. The original, Spanish title is "The Passenger Lovers" because, during the climactic sequence, everyone screws. There are a bunch of plot lines and all of them feel unfinished - I was assuming I had gotten an edited version (with all the gay stuff, I thought maybe the American distributors cut down some stuff for an R rating), but, no. I'd say at least it's short, but these 90 minutes are interminable.

A plane malfunctions and faced with possible imminent death, pilots, crew and passengers reveal their innermost secrets.

After having tranquilised the passengers of the economy class, crew members only have to deal with the few business class passengers and their eccentricities but it is the very gay cabin crew that are called to the rescue.

Unusual due to it s overly camp overtones, this one is a little gem. It is not often we face the inevitable with such fresh humour and intelligent satire. When close to dying it seems we do not care about having our innermost secrets revealed and Almodovar infuses humour with realism, in a masterly way as we have come to expect from him.

Much as I can see why some have rushed to label this as too overdone, I would disagree and it clearly showed that a heterosexual viewer can both enjoy and appreciate a mucho camp romp.

Being Spanish myself includes me in a list of potential victims of our most known filmmaker. I'm not an oblivious fan of Almodovar's work. I tend to watch his movies with objective lens, always hoping for the best. However this wasn't the case. His previous movie was one of a kind, considering he made Banderas act, really act, like wanting to shout my mouth after mumbling how bad an actor he always appeared to me. In "Los Amantes Pasajeros" (by the way, what's wrong with the translation, guys? Are you trying to copy our bad Spanish habit of not translating titles adequately?) the guy from La Mancha has tried to fool us. I mean, the non followers of his every work. This movie is incoherent, absurd and terribly boring. None of its jokes make sense as they seem to be written for really dumb people. I just miss my 7 euros, worth of a good burger instead.

At one level I'M SO EXCITED is very reminiscent of AIRPLANE! (1980) and AIRPLANE 2 (1982) in the way director Pedro Almodovar parodies the conventions and plots characteristic of disaster movies. The stereotypes are all there: the bisexual pilots, gay male cabin staff, compliant female staff, and a rogues' gallery of passengers including a Queen of S&M, a professional killer, a tycoon on the run after a financial scandal, and a young couple celebrating their honeymoon both physically and emotionally. Many of the jokes are crude as well as sexist; in this world gender roles are clearly (and it seems immutably) defined, with males reasserting their authority, both physical as well as sexual. If they fail to achieve this, then drugs will help them achieve their ends. At another level, however, Almodovar asks us to reflect beyond the superficialities of the jokes and consider how we cope with any situation in which there appears to be no way out. Do we just accept it with stoical endeavor, or make light of it? In the case of the protagonists in I'M NO EXCITED, the latter option seems more appropriate - at least they will try to obtain momentary pleasure (even if it is only visceral pleasure) as they progress inexorably towards their doom. Although the story ends happily, we should nonetheless use our experience of the film to reflect on our own behavior. Technically speaking, Almdovar's touch is as sure as ever as he crams a profusion of material into the film's short (90 minute) running-time, while ensuring that we never lose sight of any the characters involved.

My amusement watching this film was derived from the reaction of the so called "discerning" Brighton audience who laughed at the most obvious as if they were teenagers watching their first shallow American blockbuster heavy on fart and sex references. To say it was pathetic is letting it off lightly. Maybe women make up a big portion of Almodovar's fan club but the way they seemed to let him get away with his frivolous treatment of male rape and drug rape astonished me. There's no doubt that he has produced decent work in the past but, rather like Lucas, he seems to have succumbed to the puerile and obvious.

Twenty five years after "Mujeres al borde de un ataque de nervios", Almodòvar comes back to comedy, without losing that bad, kitsch, classic, self-quoting, ironical and pop taste which contaminates his work. Surely is a minor film in his filmography, less brilliant and less important than his 80's comedies, about which this script offers nostalgic sparks, but it's absolutely enjoyable, light, and with some exhilarating moment (gay stewards singing in playback "I'm So Excited" by Pointer Sisters is a pearl). And whether if it's true that narrative structure and meaning are missing, on the other hand the sequence of gags, paradoxical situations and various digressions is funny and still surprises for its excessive but not vulgar way to talk about sexuality, as always extreme or doubtful in his characters, played by old and new glories of Spanish cinema.

The cine-goer attends this movie in order to "laugh" and "have fun". He/she ends up confused and disappointed. That's because he/she is missing the point: this is not a comedy, it's much more than that. Don't stay on surface, it's a political allegory in many ways. If the cine-goer could "get it" we'd probably be living in a different political order.

Spain and the crisis in the EU: the passengers (and viewers/cine-goers) in the second class are sleeping during the flight and cannot understand what is really happening. They have no right to the truth. The same applies to the viewer and critic, this movie is so clever that proves that the viewer/critic is also asleep since he/she can't get what's behind the "comedy".

It is only the A-Class passengers that are free of manipulation and have the right to know the truth. The crew could represent in a way, the "technocrats". However, they all have their own problems and ethics - it is criticized the way they came up to "A-Class".

Now, take a moment to think: why did we watch the first scene with Penelope Cruz? Just that the director lets his friends do a small guest part? It's a world where nobody is doing his/her job properly. Instead of that, everybody cares about his/her "personal world" which becomes that hilarious like when tweeting messages while bleeding. Further more, it's a world full of political corruption and economic scandals. When do they all come from? It's a world of a meaningless individualism. And, under pressure, it's all about sex. Hallelujah Sigmund Freud.

Yep, that's a laugh out loud storyline. Whilst the 'normal' people endure a drug induced sleep, the hedonists and narcissists manage to come close to annihilating everyone. Just one straight (!) gay character tries to keep to a principled line. Unfortunately, he's dependent on his religious beliefs that prove as useless as the Spanish air controllers in organising a suitable free landing strip. We of course are liable to believe the Spanish air control didn't want this particular plane and its passengers back! The personal peccadilloes of all the awake characters fall into the same addictions, sex-drugs and a certain kind of music,(geddit!)Ah, do you understand what the comedy is now? It is funny, you are not intended to be offended by the campness, the crudeness, the complete tackiness. That's what will make you laugh - despite yourself. Go on, treat yourself to a bit of ridiculous escapism. Ha ha!

I am so sorry to say This movie is such a shame. I have watched people in the cinema was shocked by this weak work of Almodóvar. This movie has not any structure has not any idea behind the story and behind the actors. It was just very disappointing work that has not been consumed enough work and enough time to present it in efficient work. I obtain just a feeling that producers tried to present us they do not have anything to say. The moment of the movie when cabin crews are dancing and tried to make audience laugh was the worst part of the movie due to lack of comic strategy to attract audiences and lack of producers, writer and director understanding of the reasons of human smile, laugh and particularly comics.