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100The film is flushed with bright light and cartoon hues, nicely accenting the fast-paced stew of incidents.
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100The women here aren't afraid to get extreme about love, but in the end, you sense that they are too sound to destroy themselves over the worthless man they have allowed to personify it. That's what lifts Women on the Verge of a Nervous Breakdown from the amusing to the sublime. [23 Dec 1988, p.23]
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90The smiles don't fade until the finish of Women on the Verge of a Nervous Breakdown when we witness Pepa's realization that she has, in fact, come into her own and taken charge of her own destiny. [20 Dec 1988, p.1]
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88With Maura delivering an explosive performance, Almodovar presents Pepa's tale with real gusto--with vibrant colors, gaudy personality, mad jokes and a sexiness that erupts off the screen.
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88Women on the Verge of a Nervous Breakdown, is certainly indebted to the plastic and neon schlock of Hollywood director Frank Tashlin, but the farcical epic of actress Pepa Marcos is closer in innovative energy to the transformations of Fassbinder than to the recycling of Spielberg and De Palma. [20 Jan 1989, p.C1]
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80An explosion of garish colour, wacky detail and surreal complications, Almodovar's very funny, urban comedy overflows with the unexpected. See it!
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80This often hilarious, irreverent and offbeat comedy is the most coherent young Spanish filmmaker Pedro Almodovar has limned thus far.
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Gorging on the bad, bad world of TV soap operas, tabloid news and those Roy Lichtenstein cartoons where anguished women lament their lives with "Brad," Spanish director Pedro Almodovar gets a wonderful rise out of life's lows in Women on the Verge of a Nervous Breakdown.
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80This is painless sexual politics, a fiendish comedy full of prickles and pain and the bright shiny pinks of a matador's cape. The farce falters from time to time, the pace is imperfect, but who can resist this "Twilight Zone" of limitless coincidences?
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80The results are high-spirited, with nice ensemble work from Almodovar's team of regulars, but the playlike structure (originally derived from Cocteau's The Human Voice but drastically reworked) is disappointingly conventional.
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75There's some sexually tinged humor and a bit of foul language, but most of the action is lightheaded fun. The picture also has a striking visual style - showing what a strong talent Almod'ovar can be when he focuses his energy on cinematic values, instead of dreaming up provocative stunts that put his work beyond the pale for many moviegoers.
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70The pace sometimes flags, and there are scenes in which the comic potential appears to be lost only because the camera is in the wrong place. Farce isn't easy to pull off, but Mr. Almodovar is well on his way to mastering this most difficult of all screen genres.
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