• Released
  • December 20, 1991
  • Melodrama
    Reunion Films
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75

Chicago Tribune

By Dave Kehr
It's an admirable attempt, though a less than completely successful one. The film's disappointments lie not so much in Almodovar's controlled, respectful direction as in the strange gaps and displacements of his screenplay, which never seems to supply the scenes we most want to see. [20 Dec 1991]
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75

Chicago Sun-Times

By Roger Ebert
An Almodovar film is always an exercise in style, but High Heels also generates narrative energy and mystery, and provides what was, for me, a genuine surprise at the end.
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63

TV Guide

A stylish but disappointing spoof which lacks the satiric gusto of director Pedro Almodovar's earlier works.
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60

Empire

We get a mother-daughter murder melodrama even more farfetched than the Joan Crawford classic, Mildred Pierce, on which this would appear to be loosely based.
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60

Los Angeles Times

By Michael Wilmington
The best thing about High Heels are the performances - [Victoria Abril]'s tense, voracious daughter, Parades' star-turn mother, the sinister Bose, the arrogant Atkine - and the lucidity of Almodovar's narrative style, which by now seems as natural as breathing. [20 Dec 1991]
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50

Austin Chronicle

By Marc Savlov
High Heels becomes mired in its own best intentions - primary colors and all.
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50

Boston Globe

By Jay Carr
Mostly it's Paredes' imperious - then surprisingly generous - high-handedness that carries High Heels. [20 Dec 1991]
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50

Chicago Reader

By Jonathan Rosenbaum
Those who miss the wildness of his premainstream work will probably be only partially appeased.
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50

USA Today

By Mike Clark
It's easier to take Hi-Heel Sneakers by Tommy Tucker- more seriously. [20 Dec 1991]
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40

The New York Times

By Janet Maslin
High Heels has no real mirth and not even enough energy to keep it lively.
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51 out of 100
Mixed or average reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.