Inconscientes 2004

Walter V. Addiego, San Francisco Chronicle: [Director Joaquin] Oristrell's comedic sense only seems to succeed in spurts, and he often burdens the proceedings with a theatrical and contrived air that undermines the humor. Read more

Kevin Thomas, Los Angeles Times: The film is sustained effortlessly by the charismatic Watling and Tosar, who are among Spain's most popular movie stars. Read more

John Patterson, L.A. Weekly: Laboring in the wide shadow of Almodovar and lacking much in the way of visual distinction, Unconscious compensates with its cast's full-tilt commitment to rip-snorting farce. Read more

Gene Seymour, Newsday: Are the Spanish the only ones these days able to make movie comedies that are smart, sexy, wacky and graceful all at once? Read more

V.A. Musetto, New York Post: The comedy is too broad, lacking the subtlety that the film's high-brow intentions require. Read more

Stephen Holden, New York Times: The Freudian farce Unconscious is paced so breathlessly that it keeps you panting to keep up with each new plot twist. Read more

Edward Lawrenson, Time Out: We should be thankful for the wit and style of Joaquin Oristrell's film. Read more

Jonathan Holland, Variety: A distinctive, sharp-witted and good-looking period comedy. Read more

Jennifer Drapkin, Village Voice: The movie's message is clear: Freud's greatest contribution to society was not the idea that all little boys long to sleep with their mothers -- rather, it's the concept of the unconscious, a hidden place where our secret desires yearn to be free. Read more