Broken Embraces (2009)

Phipps finds the film a studied, stylish piece of filmmaking animated by brokenhearted romanticism. He praises its blend of Douglas Sirk melodrama and Hitchcockian unease, especially in Penélope Cruz’s performance.

Sharkey gives the film a warmly positive review, admiring its intricate, playful storytelling. She particularly praises Penélope Cruz’s versatility and Lluís Homar’s performance.

Bradshaw finds the film seductive, intelligent and engrossing, despite its fleeting pleasures. He particularly praises its vivid visual style and fluid movement between past and present.

The 4/5 rating indicates a positive verdict. The available description praises the charming eccentricity of Almodóvar’s English-language film titles.

Newman finds the film gorgeous and seductive, though somewhat overlong and best suited to Almodóvar fans. He praises Cruz’s dazzling, distinctive screen presence.

The headline presents the film as a passionate celebration of cinema. The accessible page provides no further detail about the critic’s verdict or specific praise.

Holland finds the film restless and enjoyable, but says its love story never fully catches fire. He praises its visual richness, fluid editing and witty dialogue, while noting that its emotional center is elusive.

The page could not be read, so the critic’s verdict and any specific praise or complaint cannot be established. The available page content does not provide enough information to summarize the review.

Ivan finds the film visually and stylistically impressive but emotionally hollow, with its cleverness fading quickly. She praises how smoothly the intricate construction holds together, while faulting Cruz’s role for offering little emotional depth.

Harley finds plenty to enjoy but says the film lacks emotional heft and relies on familiar grooves. He praises Almodóvar’s sensual visual style and highlights Penélope Cruz’s performance.

Schager finds the film visually gorgeous but emotionally thin and overly reliant on familiar themes. He praises Penélope Cruz’s commanding screen presence, while criticizing the film for reducing her character to a beautiful, inscrutable image.

The critic finds the film engrossing but minor, more a plotting and movie-nostalgia exercise than a story about real people. He praises the lead performances and Rodrigo Prieto’s exquisite cinematography, especially the close-ups of Penélope Cruz.

The critic finds the film skillfully made but not a new masterwork, likely to appeal more to Almodóvar’s devoted fans. They praise its fluid storytelling and visual polish, while faulting its reliance on the director’s earlier work and influences.

Lane finds the film visually intelligent but emotionally chilly, with its intricate plotting failing to stir the heart. He praises the vivid imagery and Cruz’s screen presence, while faulting the film’s fixation on her posing and its airless contrivances.

Robertson calls it an excellent, entertaining work and a strong introduction to Almodóvar’s films. He praises its dense, dazzling storytelling and the haunting visual passion, while noting that some comedy and wordplay do not translate well.

The critic presents the film as a compelling, self-reflective work about making sense of life through movies. They single out its haunting score, rich colors, and playful references to Almodóvar’s earlier films for praise.

The critic finds the film a light, minor work that nonetheless rises above its limitations through Almodóvar’s skill. He praises its craft, performances, and playful love of cinema.

The critic finds the film an artful, entertaining noir, though its plot tangles and emotional distance keep it from fully succeeding. Penélope Cruz’s enigmatic performance and Almodóvar’s balance of noir grit with melodrama stand out for praise.