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 Some films Almodovar has abandoned this part of the largest component of its folk world to address the central issues of his creative universe, where the cinema (in the manner of his two favorite genres, melodrama and noir) is responsible for shape the passions that have always inflamed, love with all its sorrows and joys, the love of life despite the pain and disappointments, the force of desire. Tell goliardia probably less but with greater intensity and maturity. (Paolo Mereghetti - Il Corriere della Sera)
Almodóvar seems to have lost his special time with sarcasm and even grotesque. This film does not look anything like the first film farcical that made it so loved and popular in Europe. Instead, soft, sweet irony is exercised on gender, not on the emotions of the characters, and the change makes the film less loving. (Lietta Tornabuoni - La Stampa)
A film that never took off, perhaps the anxiety of the filmmaker to put all of himself, literally.(Boris Sollazzo - Il Sole 24 Ore)
Pedro Almodovar is tired and listless.(Mariarosa Mancuso - Il Foglio)
Despite some imperfections, and in part precisely because of them, Los abrazos rotos path from emotion is constant. An emotion that is based on the beauty of the character of Lena and her interpreter. Just juxtapose two mental images of Penelope Cruz, Volver courage of the mother and the woman injured in Los abrazos rotos, to measure the size of its register. For now, Pedro Almodovar is the only one to do justice to this actress. This time he makes a fallen creature, who offers a rich man and finds his redemption through the craft of acting. A simple figure that could be just a cliche in the hands of any director, but here moves like the heroines of Douglas Sirk. (Thomas Sotinel - Le Monde)
(...) The problems of the film - much less exciting of Almodovar's most recent, from All about my mother in Volver - are twofold: an excessive complication of the narrative structure and a widespread frost on the characters (...). Put soldoni: the film moves (...). Remains the mastery of the pack and the skill of clearly established Penelope Cruz, and still a minor is always a Mr. Almodovar films. (Alberto Crespi - Unit)
At the end of the film, images and characters vanish into thin air without a trace in memory, but I defy anyone to watch the movie without feeling a shiver of pure pleasure. (Peter Bradshaw - The Guardian)
On his 17th feature film, Pedro Almodovar confirms a great film lover is a narcissist without limits. (...) (...) As usual in the films of Almodóvar, the staging is outstanding and masterful directing the actors, but the script suffers from high and low, an internal imbalance that leads to an alternation Other memorable moments and forgettable (Alberto Luchini - El Mundo)
Almodovar's dovetails with skill melodrama, comedy and noir (...) Penelope Cruz is convincing though, because his character is divided into three, the public has great difficulty locating an emotional center in the dizzying array of clothes and wigs (... ) (Jonathan Holland - Variety)
Los abrazos rotos is the extreme manifestation of what could be called Baroque Almodóvar, a play of masks, time, levels of narrative and aesthetic registers (Jordi Costa - Fotogramas)
Eccentric melodrama bleak humor that shines in the classic Almodovar and amaze fans. The rest of the audience might otherwise remain stunned that the most admired (Barry Byrne - Screen International)
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