The House of Flowers: The Movie

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Why not just say it's an actual gay movie. It's more of that than anything else in the movie. I wasn't interested in watching a gay movie. There are some parts that were ok and funny but overall it was all over the place. The writers cut out the fiance without stating what happened to him. Then they wrote him back in the movie when their little sister caught her with her sister's brother. Unorganized scenes. Sometimes it was annoying watching it. I'm not finished watching it yet, I have to give it a break.

Summary For fans of the series (including myself), it is always pleasant to meet again with the De la Mora family. Although the film retains and shows off some successes, (Paulina de la Mora's dialogues and an ingenious staging of its two timelines, among others) and the overall result is inferior to the series, since it cannot (nor does it want to ) reproduce its complexity, it is still agile and fun. Review: This long-awaited film by Manolo Caro returns to address the De la Mora family in two different eras: the current one, with the three De la Mora brothers and some other characters and a Virginia de la Mora already married (the mother) with a large part of the youth characters of season 3. In both cases, they all undertake different "missions" to be carried out in the same family home in the framework of two parties. For fans of the series (including myself), it is always pleasant to meet again with its characters, and although the film retains and shows some successes, the overall result is inferior to the series, since it cannot (nor does it want to) reproduce its complexity. The general trend in both timelines is that of the comedy of entanglements, although the juvenile characters (especially) take up some elements of the melodrama raised in season 3, so it would be advisable for the viewer to do some review of it. Among the successes, Manolo Caro appeals to a quite virtuous way of linking both timelines and the youthful characters look more human, thicker than the current ones and some situations raised are undoubtedly funny. But, without a doubt, it is Paulina de la Mora (the wonderful Cecilia Suárez) who keeps intact the magnetism of her already iconic character and the sharpness and humor of her dialogues are the best and the best of the film.

But Cecilia Suarez is still great and it was worth it just to see her play Paulina one more time.