Pedro Almodovar’s comedy/melodrama is a disappointment that gay men may find amusing but does little to advance their cause. Which is fair enough. Why should a film proselytise for gays or straights in a comedy about an airliner with a malfunction and a crew of varying sexual preferences?
The root cause of the tedium is that Almodovar’s screenplay tries too hard to be all things to all people – distressed airliner in peril, comical capers involving flight crew, cabin crew and business-class passengers (economy passengers having been slipped a potion to keep them unaware of pointy end hi-jinks), marital complications aloft and a-low, criminals fleeing retribution, Spanish domestic political issues about which the rest of the world is innocent.
These themes have been better done elsewhere. It’s sad that a filmmaker with such a wide stylistic capability and reputation has bitten off so much in a work that fails to meet the expectations generated by its pre-take-off passage with Antonio Banderas and Penelope Cruz, Almodovar regulars back in the day, now global stars, playing airline ground crew prepping the flight for departure.
At Palace Electric and Capitol 6