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Pedro's back and Madrid has gone wild. With the release of his 17th feature film, "Los Abrazos Rotos" (Broken Embraces) Almodovár tells the tale of a blind film director (Lluis Omar) and how he came to lose not only his sight, but also the love of his life (Penelope Cruz). The film is by no means a departure from the Spaniard's typical traits, with the picture employing the usual Almodóvar fodder – love, lies, tears, melodrama, comedy - to great effect. The film journeys between the past and the present, and interweaves diverse stories and viewpoints, to construct a fascinating drama full of twists and turns. The acting is terrific and there are many 'in-jokes' involving subtle references to previous Almodóvar films, with the picture rounded off nicely by a soundtrack produced by the ever-brilliant Alberto Iglesias (featuring original music alongside tracks by Uffie, Cat Power and Can).

My only gripe would be the film's length, clocking up over 2 hours – a factor which is noticeable given that the film's storyline does seem to run out of steam after the 90-minute mark. But that minor complaint should not detract from the fact that Almodóvar has demonstrated himself to be one of the most individual and consistent film-makers in modern cinema. It must be said that 'Los Abrazos Rotos' is not the tour-de-force that some fans may have hoped for and falls short of eclipsing what in my opinion was his career high – Hable Con Ella (Talk to Her). Nevertheless, Almodóvar delivers a very engaging film which is sure to become another hit, and will no doubt earn more accolades for the man who can deservedly call himself Spain's most successful film-maker of all time.

This is a very complex thriller, but also very rewarding. This is director Pedro Almodovar's film with the broadest spectrum. There are numerous plot's and subplots and it all seems a bit confusing, but once again, Almodovar brilliantly pulls it all together by the films end. Penelope Cruz is radiantly beautiful and gives her usual excellent performance. Lluis Homar, Blanca Portillo and Jose Luis Gomez give superb performances. Almodovar is so amazingly visual, and there are several unforgettable images in Broken Embraces. The characters develop so incredibly well and the blending of all the stories is so striking to watch. Superbly done.

Pedro Almodovar's latest, "Broken Embraces," is like a high-class telenovela for the art-house crowd.

Its love triangle - involving a film director (Lluis Homar), his gorgeous lead actress (Penelope Cruz) and her elderly, abusive boyfriend (Jose Luis Gomez) who's financing the film on which they're working - spans the period from 1994 to 2008. In the present time, the financier, Ernesto Martel, has just died, while the director, Mateo Blanco, who has since become blind, has plans for writing another film. But what's become of Lena, the girl of both of their dreams, in the intervening years?

Structurally, the movie divides its focus fairly evenly between the two time periods. The intricately plotted narrative unravels like a conventional mystery story, with clues being dropped in at key moments and character connections and motivations becoming ever more clearly defined as the movie goes on.

This isn't prime Almodovar, by any means, but the customary florid melodrama, color-rich palette and elegant direction make it a worthy addition to the director's oeuvre.

Harry Caine is a blind scenarist and an outdated film director, whose life is broken down due to a traffic accident 14 years ago in 1994. While he was directing his movie "Girls and Suitcases" he was having an affair with his leading actress Magdalena(Lena in short) playing by Penélope Cruz. New make-ups and new hair designs every other scene, Cruz stands out brightly at all the scenes that she's involved. She came to the spot at the 7th minute of the theatrical cut, left 15 minutes earlier than everybody else in the movie.

This excellent work of storytelling in such a melodramatic plot worths to be vigorously applauded. It never becomes a melodrama even within in the crying scenes of Cruz nor the scenes of Mateo Blanco reminiscing Lena. The psychological trauma constituents enrich the focus of the movie right in position. Pedro Almodovar is known for using a script supervisor at his film set; and this surely brings the dialogues to perfection. Beefing up the storyboard via the scene connections, the time gap between 1994 and 2008 is used very wisely. You can still find a couple movie mistakes in anachronisms or factual errors -like mixing GBH and MDMA liquid drugs one after another, which will cause to golden hit and kills you, instead of giving you a girlishly fainting- yet the plot has no serious flaw as far as I realize.

Mainly together with 4 supporting actors and actresses, the film drew 6 different schemes for each character. Among all, Rubén Ochandiano played the toughest role as Ernesto Martel Junior decoding a gay person's characteristic development in a 14 years of period.

A traffic accident in which the lovers involving changed the lives of 6 people. This was the main idea here, reminding the Crash and David Lynch's Mulholland Drive with this concept and it deserves to be recognized with awards like them. Not advised to watch for a family movie due to mature subject matters, female nudity, drug usage, scenes of violence and mild language.

A wonderful film. One of Almodovar's finest, and probably the most accomplished work by Penelope Cruz, whose subtle performance as Lena is a real achievement. I was lucky enough to enjoy the film in a press preview, and simply adored it. The script is extremely complex, though this fact does not result in making the story difficult to follow. All characters are perfectly defined and handled by Almodóvar, in his rich, flamboyant style. I liked this film even more than Almodovar's previous "Volver". I found this more powerful, both visually and emotionally. The music score by Alberto Iglesias is simply alluring. Cinematography by Mexican Rodrigo Prieto is also very good. But the beauty of the film is basically due to the enormous talent of Señor Almodóvar. Thanks, Pedro!