Movie Reviews

Universal Pictures International

Review in a Hurry: Spanish filmmaker Pedro Almodóvar returns with more high drama, and more Penélope Cruz. Broken Embraces is full of sex, betrayal, money, and blackmail—sort of a telenovela for film snobs. The mix of surrealism and passion resonates, but the plodding pace threatens to suck the life out of this tall tale.

The Bigger Picture: Broken Embraces examines the dual passions of man—for women and art. While casting his latest film, writer and director Mateo (Lluís Homar) has found his leading lady and soul mate in a wealthy and possessive man's mistress, Lena (Cruz). This is a dangerous move, of course, threatening both his relationship and his movie. Flashbacks intermingle with present tense as the puzzle pieces slowly come together—emphasis on "slowly."

Audiences adore this kind of stuff—love triangles, high and low art, personal redemption. Lest this becomes a turgid, pulpy flick, Almodóvar sprinkles the hyper-emotional, accessible plot with his signature bursts of humor and surrealistic fillips. Characters throw casual, funny insults at each other; estranged lovers have sex while enshrouded in sheets. Visual symbols abound, some quite obvious, and deliciously so.

Speaking of delicious, Homar and Cruz serve up rich performances, particularly Cruz—she never shines so bright as she does in Almodóvar films. With her luscious lips, bouffant hair, and big, big eyes, it's almost easy to forget what's going on with the plot as she is so magnetic to watch. Her occasionally limp performances in American films are a distant memory when she acts in her native tongue.

The 180—a Second Opinion: Almodóvar insists on long moments where little happens, an attempt to sink the viewer into a deeper, thoughtful reverie (a waiter...serves...three ...glasses...of...water...). No matter how much symbolism or subtext abound, there's not much beneath the surface to ponder in a story about the basest of human emotions; any extra space in between the action simply bores and tires the audience. Had the editing been sharper, this would have been another glittering addition to a fine director's oeuvre.

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