Broken Embraces contains all of the things a Pedro Almodóvar film should have – death, sex, the color red, betrayals, doomed romances, double-crossing, blackmail. His films are not mainstream (at least not in America), but they are influenced by mainstream cinema, specifically Hitchcock. To watch an Almodóvar film is to be transported into a purely cinematic world, where even a simple conversation over breakfast utterly captivates our attention. The Spanish filmmaker is obsessed with seeing, with perception, with point of view. And every shot counts.

His new film jumps around in time, telling the story of filmmaker Mateo Blanco (Lluîs Homar), who, in present day, goes by the pseudonym Harry Caine, the name he used to put on the title page of his screenplays. Harry Caine is blind, and is, in fact, a working screenwriter. But is Mateo really blind, or is it just an act? When he receives word of the death of businessman Ernesto Martel (José Luis Gómez), his expression tells us there is a history there. A photograph of actress Lena (Penelope Cruz) is kept locked in a drawer in Meteo’s office. Through flashback, we learn that she was once Ernesto Martel’s secretary. Pieces of a puzzle that will all make sense in time.

Like Peeping Tom or 8 1/2, Broken Embraces is, ultimately, about a filmmaker’s view of the world – Mateo’s and, of course, Almodóvar’s. This is a film about perception, and how the camera lies, or tells the truth, depending on who is operating it. In the opening voice-over, Mateo explains that a time came when he could no longer be Mateo Blanco; he could only be his new alter ego, Harry Caine. This is followed by a scene in which he seduces a young woman in his apartment. From this, we assume that Mateo’s alternate identity is an escape, an elaborate exercise in role-playing. By the end of the film, we realize that we were right, and yet we couldn’t have been further from the truth.

Thad Cockrell, To Be Loved

Bat For Lashes, Two Suns

The Pains of Being Pure at Heart, self-titled

Camera Obscura, My Maudlin Career

The Clientele, Bonfires on the Heath

A Camp, Colonia

Dashboard Confessional, Alter the Ending

Kings of Convenience, Declaration of Dependence

Leeland, Love is on the Move

David Mead, Almost and Always

Mumford & Sons, Sigh No More

Onerepublic, Waking Up

Paramore, Brand New Eyes

Passion Pit, Manners

Phoenix, Wolfgang Amadeus Phoenix

Sleeping at Last, Storyboards

Mindy Smith, Stupid Love

Regina Spektor, Far

U2, No Line on the Horizon

Brooke Waggoner, Go Easy Little Doves

ALMOST FAMOUS (2000)

Inspired by events in his own life, Cameron Crowe’s tale of a young journalist who goes on the road with a rock band in the ’70s is irresistable cinema. A “smile all the way through” movie. Crowe’s best work to date.

GOSFORD PARK (2001)

Robert Altman’s murder mystery is a modern masterpiece, a complex tale of upper and lower classes set in an English country house in the 1930s. The business of murder is simply the backdrop in a thoroughly compelling character study. No one could juggle an ensemble cast as effortlessly as Altman.

SPIRITED AWAY (2002)

Certainly in the top tier of Japanese master Hayao Miyazaki’s work, Spirited Away is an extraordinary work of the imagination. Ten year-old Chihiro wanders into an abandoned amusement park and suddenly finds himself in a bathhouse of the gods. Miyazaki’s creativity is staggering. Watch how he deals with the theme of identity throughout the film.

THE ROYAL TENENBAUMS (2001)

The best of Wes Anderson’s films, Tenenbaums follows the ups and downs of an eccentric New York family portrayed with gusto by an extraordinary cast. At first, it’s merely quirky comedy, and then a moment comes along when we realize that we actually care about these people. The wonderful art direction, cinematography and music are then just icing on the cake.

TALK TO HER (2002)

Pedro Almodovar’s masterpiece about women in comas, and the men who love them, goes places you might not expect; and it has you sympathizing with the characters in ways you couldn’t have imagined. Almodovar is one of the great filmmakers of our time, always challenging us with the moral dilemmas of his characters.

LOST IN TRANSLATION (2003)

Sofia Coppola’s film about two lonely Americans in Tokyo reaches beyond the limits of a movie and becomes an experience. It’s the film that launched Scarlett Johansson’s career and reminded us that Bill Murray is more than just a funny guy. A modern masterpiece.

A VERY LONG ENGAGEMENT (2004)

France in the 1920s. When Mathilde (Audrey Tatou) receives word that her fiance has died in the war, she refuses to believe it, setting out on a quest to uncover the truth. A stunning film by visionary director Jean-Pierre Jeunet. In my opinion, his best work to date.

THE NEW WORLD (2005)

Terrence Malick has made just four films in his 30-year career. The New World is in his top two. This retelling of the John Smith/Pocahontas story is slow-paced, graceful, meditative. In other words, quintessential Malick. Let it wash over you.

PAN’S LABYRINTH (2006)

In the aftermath of the Spanish Civil War, a young girl moves into a house in the country with her mother and stepfather, a captain in the army who likes to smash peoples faces in with bottles. She escapes into a fantasy world as dangerous as the real one. Is the fantasy real or just a means of escape? Decide for yourself.

THE FOUNTAIN (2006)

A lot of people hated Darren Aronofsky’s The Fountain. They called it indulgent, overly ambitious, too cerebral. All reasons why I love it. The poignant story of a man searching for a cure to his wife’s cancer is a supreme example of tone. A beautiful and haunting cinematic experience.

THERE WILL BE BLOOD (2007)

Paul Thomas Anderson made some wonderful films prior to There Will Be Blood (Boogie Nights, Magnolia), but his chilling character study about an oil tycoon, set in the dry plains of California in the early 1900s, elevated him to a different level. His most accomplished film, and one of Daniel Day-Lewis’s best performances.

The story of Avatar is familiar territory: during a time of war or unrest, an outsider from one “tribe” is welcomed into the enemy tribe, and soon finds himself siding with his former adversaries. Think Dances With Wolves. Think The Last Samurai. What sets Avatar apart is not the story itself, but the way in which it is told. This is a breathtaking ride of a movie.

Rumor has it that writer/director James Cameron spent fifteen years working on the epic film, which utilizes a hybrid of live-action and motion capture CGI to create the world of Pandora, home to the Na’vi people. Aussie Sam Worthington (Terminator: Salvation) is Jake Sully, the paralyzed marine who, through a sleep-induced brain transfer (or something like that), is able to stretch his legs in the body of a Na’vi male – his avatar. The mission: infiltrate the tribe and convince them to move their home. Why? Because it happens to be situated above the greatest deposit of magic space rock crystals known to man (or something like that).

Jake’s loyalty to the Na’vi is put to the test by the tall, sexy, and very blue Neytiri, played by Zoe Saldana, fresh off her stint as the Spock-smooching Uhura in JJ Abrams’ Star Trek reboot. Neytiri instructs Jake in all things Na’vi, and eventually his loyalty to the mission begins to disintegrate. This is all sort of predictable to a certain extent, but it is never boring. Cameron fills the screen with jaw-dropping vistas, exotic creatures, and nighttime scenes of bioluminescent splendor. And fear not, there is plenty of action. The final climactic battle proves that Cameron hasn’t lost his touch when it comes to crafting a good skirmish (Michael Bay could stand to take some pointers in this department).

Now, about the CGI…I was initially skeptical, and the slew of trailers, clips, and images online didn’t help. I couldn’t get around the fact that the Na’vi looked like cartoon characters. So you can imagine my relief when I realized, about halfway through the film, that it all holds up fairly well. Granted, there are moments where it is obvious that we are watching computer-generated characters, but the close-ups are flawless.

If I have a complaint, it’s that the environmental message of the movie is perhaps taken a step too far (FernGully: the Last Rainforest anyone?), but it doesn’t detract from the overall experience (it looks great in 3D, by the way).

UP IN THE AIR (DEC. 25) ★ ★ ★ ★

In this expertly constructed dramedy by director Jason Reitman (Juno, Thank You For Smoking), George Clooney plays Ryan Bingham, a man who makes his living by firing people. That is, he does it for those who don’t have the nerve to do it themselves. Bingham’s life is, for all intents and purposes, lived on a plane, and it’s more than mere necessity. By constantly staying on the move, Ryan is able to keep himself free from the baggage of personal relationships. He is a loner, and intends to keep it that way. But when the beautiful and charming Alex (Vera Farmiga) comes into the picture, he begins to reconsider the independent lifestyle he has championed for so long. Like Reitman’s Juno, Up in the Air is a funny and poignant movie that manages to be heartfelt without being sentimental. I was genuinely moved and challenged by the questions this movie raises. Expect to see some Oscar noms, including Best Picture, Best Actor for Clooney, Best Adapted Screenplay for Reitman and Sheldon Turner, and Best Director for Reitman.

THE YOUNG VICTORIA (DEC. 25) ★ ★ ★ 1/2

Victorian-era romances are a dime a dozen, but The Young Victoria, directed by Jean-Marc Vallée and written by Julian Fellows (Gosford Park) rises slightly above the competition. Emily Blunt (Sunshine Cleaning) shines as the young queen in the first years of her reign, with Rupert Friend (The Libertine) playing the handsome Prince Albert, who sets out to win her heart. Victoria may not be a perfect film, but it’s so elegantly conceived that it’s difficult to dislike it. Prior to seeing this film, my knowledge of Blunt’s work was limited to her portrayal of Meryl Streep’s ruthless assistant in The Devil Wears Prada. But take my word, her performance here is a game changer. Not only does it prove she has range, but also that she can carry a film, a feat she pulls off effortlessly in Victoria. Rest assured that her future roles will not be limited to supporting characters.

ME AND ORSON WELLES (OUT NOW, LIMITED) ★ ★ ★ ★

Shot in 2008 and left dead in the water for a year before finding distribution, Richard Linklater’s 1930s period drama stars Zac Efron (High School Musical) as an aspiring young actor who lands a role in Orson Welles’ stage production of Shakespeare’s Julius Caesar. There is a Capra-esque quality to the proceedings, as Welles’ Mercury Players attempt to pull the play together in time for its premiere. Efron is surprisingly effective as the wide-eyed Richard, who both idolizes and fears Welles, and Claire Danes (one of the most underused women in Hollywood) is charming as Welles’ assistant Sonja, who finds Richard’s naiveté endearing. But the real star of the show is Christian McKay, whose portrayal of the enigmatic Welles is uncanny. It will be a shame if he doesn’t get the Oscar nomination he deserves come January.

THE BOY IN THE STRIPED PYJAMAS (2008) ★ ★ ★

Director: Mark Herman

Slickly produced drama about a Nazi commandant’s son who strikes up a friendship with a Jewish boy in the concentration camp his father oversees. There are some good performances here, but the glossy, overlit style gives it a TV-movie feel. Perhaps it would have benefited from a grittier approach.

VERDICT: A Hesitant See It

BOTTLE SHOCK (2008) ★ ★ ★ 1/2

I was totally surprised by this movie, which centers around the birth of Napa Valley’s wine industry. Bill Pullman is Jim Barrett, a man struggling to keep his vineyard afloat, with help from his hippie son, Bo (Star Trek‘s Chris Pine). Alan Rickman is the French wine snob who journeys to California to sample the region’s offerings. Great stuff.

VERDICT: See It

THX 1138 SPECIAL EDITION (1971/2004) ★ ★ ★

Director: George Lucas

George Lucas’s debut film still holds up stylistically. The newly added “special edition” footage is unnecessary, but rarely distracting. Cinematography, editing, and sound design are superb.

VERDICT: See It

TIME AFTER TIME (1979) ★ ★

Director: Nicholas Meyer

Jack the Ripper hitches a ride on H.G. Wells’ time machine, and finds himself in modern day San Francisco. Fun concept, but ultimately the story doesn’t work.

VERDICT: Skip It

DISTRICT B13 (2004) ★ ★ 1/2

Director: Pierre Morel

Some of the most ridiculous action scenes I have ever seen. If only the action was paired with an involving storyline. Still, this is entertaining movie.

VERDICT: On the Fence

Ricky Gervais’ comic farce The Invention of Lying and Sherwood Pictures’ Christian hit Fireproof actually have something in common. They are both examples of using film as an opportunity to preach from a soap box. Fireproof informs us that in order for a marriage to survive, it must be grounded in a solid Christian faith, and even goes so far as to suggest that faith in Christ will rid your life of problems altogether. Lying, on the other hand, goes to great lengths to make it clear that God does not exist at all.

In my opinion, both statements are misguided, but what especially irritates me is how these ideas have been communicated. Fireproof nailed its message home with the delicacy of a sledgehammer to the head. In the case of Lying, there are clever moments, but about halfway through it becomes obvious that the concept (a world where people can’t lie) is simply a front for the Atheistic manifesto that Gervais is selling.

What happened to subtlety? And, for that matter, comedy? Lying starts off in a good direction, but ultimately lacks the comic brilliance of The Office and Extras. If there is anything positive to say, it is that Gervais’ performance proves he’s capable of more than just awkward comedy. And that’s my two cents.

LINKS

The Invention of Lying @ IMDB

The Invention of Lying @ Wikipedia

Fireproof @ IMDB

Fireproof @ Wikipedia

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