El Angel (El ángel)

Too little of "El Angel" escapes a second-hand, been-there, killed-that feeling.

The full story has been sacrificed in the service of maintaining the balance between horror and fascination. And Ferro really has created a fascinating screen character.

The movie is made with skill, but it's so relentless in backing away from any psychologizing or moralizing - or just about anything else that might give us a handle on what makes this monster tick - that it finally feels like an empty horror show.

Ortega has a real eye for flashy, chaotic set pieces and a real ear for excellent Latin rock needle drops on the film's killer Scorsese-inspired soundtrack.

It's a hell of a story-spruced up and splashed on a big, colorful screen-with a lot to show but little to say.

El Angel is sensuous enough to suggest the work of Pedro Almodovar.

the sheer off-kilter spectacle that finds its focus in small, weird moments is too great to dismiss

Captivatingly nasty.

Although the characters aren't sympathetic, the film benefits from stylish period visuals, subtle treatment of its homoerotic subtext, and charismatic performances.

Ferro's superb performance makes it a highly worthwhile ride.

The film is well done in establishing its mood. However, it never succeeds in keeping the characters interesting.

At one point, a filmmaker must draw a line in the sand so his audience knows how to react. This movie dances across such a line until it is no longer there.