Romance and storytelling merge in wry, marvelous 'Broken Embraces'

ust and obsession, fathers and sons, storytelling and filmmaking, betrayal and redemption—all go into the Cuisinart to be whipped into a gorgeous and volatile froth in Broken Embraces, a spicy drama from Pedro Almodóvar, served with a side of wryness. It's hard not to fall into gastronomical adjectives to describe this film: every frame looks good enough to eat (full of popsicle colors and striking compositions) and every performance is delectable, however small.

If the bleak vision of man's inhumanity to man in No Country For Old Men wasn't  demoralizing enough, this adaptation of another Cormac McCarthy novel, “The Road,” ought to do the trick. Judging from these two most recent novels (published in 2005 and 2006, respectively), McCarthy no longer has any faith in either the ability or the right of humankind as a species to exist for much longer. Directed by John Hillcoat, from a script by Joe Penhall, The Road is a post-apocalyptic tale of a father and son journeying across a devastated landscape that suggests what might happen if the natural world suddenly turned as savagely self-destructive as the humans who inhabit it.

Big fun on the bayou in ‘The Princess And The Frog'

It's taken the folks at Walt Disney more than seven decades to create their first African-American cartoon heroine. And when they finally do, she spends most of the movie green when a fairy tale kiss goes awry in The Princess And The Frog. But the movie is so much fun, and—for Disney—culturally rich, with its New Orleans/Louisiana bayou setting, there's not much else to quibble about. Terrific voice performances, lively songs by Randy Newman, and gorgeous hand-drawn cel animation make this one of the most entertaining Disney cartoon features since The Lion King.

White parents, black child-chaos, in affecting 'Skin'

Despite its title, the persuasive drama, Skin, is not about race. At least, it's not about race alone. Yes, the plot revolves around the true story of a black South African girl born to white parents during the shameful and divisive apartheid era. But on a larger scale, the issues of identity, otherness and separatism explored here could just as easily apply to a story about national, sexual, political, or religious intolerance, as well as racism—any of the artificial barriers that divide us from our fellow humans. Where Skin gains power is in showing how the effects of injustice can be just as devastating on those who wield it as on those it's wielded against.

INVICTUS Sports and politics mix in this true story of how restored South African president Nelson Mandela (Morgan Freeman) joined with national rugby team captain, Francois Pienaar (Matt Damon), to unite the country devastated by the aftermath of apartheid during the 1995 World Cup championship race. Clint Eastwood directs on location in Johannesburg and Cape Town. Based on the non-fiction book "Playing The Enemy," by John Carlin. (PG-13) 133 minutes. Starts Friday.

Watch movie trailer >>>
Click Title to see all Movies & Film Events >>>

Behold—the worst films of 2009

You don’t come across films like Precious and Up In The Air every day—let’s not forget Away We Go—so relish them while you can. In meantime, 2009, while it was a strong year overall at the box office, spawned more than a cluster of clunkers. Take note of the following films—most of them remakes— and then immediately erase them from your memory.

Father uncovers hidden family secrets in bittersweet 'Everybody's Fine'

When was the last time you called your folks? You might want to make that call after seeing Everybody's Fine, a wistful drama of family dynamics and the lies we tell ourselves and our loved ones—just to get by. Although the film doesn't entirely resist the urge to tie things up in a neat package, the story is surprisingly schmaltz-free in the telling, mostly rising above easy sentimentality for a thoughtful look at parenting, expectations and disappointment.

If you don't know anything about Third Century Chinese politics, don't study up on it before you see Red Cliff. One of the strengths of this vast and bloody dramatization of a decisive battle between feudal warlords, at least for the uninitiated, is not knowing who will win the war, or how. The suspense factor is a plus in this two-and-a-half-hour action epic from director John Woo, who, after a career in violent Hong Kong gangster melodramas and Hollywood thrillers, turns to the mystical, martial-arts spectacle. The characters are mythic, the film's visual scale humongous, the bloodletting frequent and exhausting, and there's plenty of opportunity for Woo to show off his trademark explosions.

ARMORED Columbus Short stars in this action thriller about a new driver at an armored truck company coerced by his cohorts into joining them in a $42 million truck heist that goes awry. Matt Dillon, Jean Reno, and Laurence Fishburne co-star for director Nimród Antal (Kontroll) (PG-13) 88 minutes. Starts Friday.
Watch movie trailer >>>

Foster terrific as conflicted war vet in spare, moving 'Messenger'

There are many kinds of collateral damage in warfare. The character played with such stoic complexity by Ben Foster in The Messenger is poised to experience, or at least witness most of them. As the title character in Oren Moverman's rigorous and insightful debut feature, Foster plays a wounded Iraq War vet serving out the rest of his tour back in the States, notifying loved ones that their sons, husbands and fathers have been killed in action.

Scripted by Moverman and Alessandro Camon, The Messenger honors the sacrifices of servicemen and women and their families, while at the same time exposing the true cost of war, and the bitter reality beneath the patriotic hype and hoopla. It also provides a sensational vehicle for Foster, after years as a young male ingénue and second lead, who recently wowed audiences as a psycho villain in 3:10 To Yuma. With the graceful subtlety of his performance in The Messenger, Foster proves he has the presence to command the screen.