San Sebastian Review: Javier Bardem In ‘The Good Boss’
Long ago, Javier Bardem told me he could never play a romantic hero. “Look at this face!,” he said in what was then halting English. “This is the face of a bad boy!” Of course, he was so wrong: Bardem’s face turned out to be almost infinitely adaptable. In Fernando Leon de Aranoa’s The Good Boss (El Buen Patron), which he owns top to bottom (appropriately, given he is the boss in question) he has the habitual smile of a benign uncle, albeit the uncle one suspects of having a secret porn stash in the basement.