Sin Nombre (2009)
★★ / ★★★★
The debut of writer-director Cary Fukunaga was loved by critics and audiences alike, but I was not that impressed with it. “Sin Nombre” was about two groups of people–one from Honduras and one from Mexico–who take a train headed to the border of United States and Mexico. The first group was Sayra (Paulina Gaitan) and her family who attempt to move to America to lead a better life. The other was Casper (Edgar Flores) who was being hunted down by Mara Salvatrucha, a gang he was once a part of, because he committed a crime against them. While I do agree that the film was protrayed in a gritty and realistic way, I found it difficult to identify with the main characters. I felt as though they had this wall that lasted from the beginning of the picture all the way to finish line. I understand that their journey on the train was literal and symbolic but I had trouble sticking with it because of that lack of connection between the characters and the characters to its audiences. I felt as though their situation or story was told in a much better way from other films. If Fukunaga had taken the time to cut off some scenes from the first twenty minutes and expand on the scenes when Sayra and Casper were interacting with each other, it might have had something brilliant to offer. Instead, I felt as though the experience can be summarized as merely glossing over the shell of characters who were going through very difficult times without truly getting into why they were complex. Their motivations were apparent (survival and a better life) but the filmmakers failed to take the story to another level. I noticed that the director tried to inject contrasting images and concepts but those weren’t enough to make up for a lack of a strong core. I had high expectations coming into this film and I couldn’t help but feel more and more disappointed as the fate of the characters began to unfold.
Rudo y Cursi (2008)
★★★ / ★★★★
“Rudo y Cursi” stars Gael García Bernal and Diego Luna as brothers who started off as workers in a banana plantation and, with the help of a soccer scout (Guillermo Francella), eventually became Mexico’s soccer stars. One of the things I liked most about this movie was it allowed two very different characters to start off in the same level of happiness (or unhappiness). But when they finally achieved stardom, they were rarely on that same level and that caused tension, resentment, and bitterness which ate them inside out. But what’s even more impressive is that writer and director Carlos Cuarón painted the picture in a light-hearted manner with a real sadness in its core. It was easy for me to buy the fact that Bernal and Luna were very competitive brothers because of their lingering chemistry from “Y tu mamá también.” Although their characters genuinely loved one another, they forget that one time or another because they constantly got caught up in their own problems and inner demons. Such issues were commented on by the narrator who discussed things like the similarities and differences between a mother and a uniform, passion and talent, and the labyrinthine world of fame. The way their luck and fortunes fluctuated from golden fevers to pitiful desperation engaged me throughout. This is far from a typical sports film where a lead character goes through all kinds fo hardship in life and finally gets that big break. It’s really more about the dynamics between brothers who constantly had to build themselves up and could not help but compare themselves to each other in order to determine if they were good enough. (Which kind of works as a cautionary tale.) Carlos Cuarón’s debut film impresses on many levels which, admittedly, could have been a lot stronger if it had a better sense of pacing. I was just glad that it actually had a brain despite the sport.
Fast & Furious (2009)
★★ / ★★★★
Vin Diesel and Paul Walker return for the fourth installment of “The Fast and the Furious” franchise. The two find a common enemy but with completely different motivations. Diesel wants revenge for the death of the woman he loves (Michelle Rodrigues), while Walker, now working for the FBI, is assigned to arrest the ringleader of a drug importer in Mexico. I actually was less interested in the story and character development (though there was barely any here) and wanted to see more intense car chases. Whenever a scene doesn’t focus on the chases, the characters manage to talk like robots consisting of lame and laughable one-liners. The one that really made me laugh was when Jordana Brewster and Walker were talking in a cafe. Brewster tried to be insightful by saying something like, “Ever think of the possibility that you’re really a bad guy pretending to be a good guy?” Walker responds by saying that he does, pretty much all the time. I couldn’t help but roll my eyes (and laugh) because I felt like I was watching a really bad soap opera. I would’ve liked this movie a lot more if it took the “Transporter 2” route and embraced its cartoonish nature instead of trying to pretend like something it’s not. I came into this movie expecting exciting car sequences and I got just that. And it was nice to see Walker and Diesel team up once again because they really do have an interesting brotherly chemistry. But I’m not recommending the movie because the writer (Chris Morgan) and director (Justin Lin) tried to inject too many banal scenes where characters are moping around and wasting time. Brainless teenagers will most likely enjoy this flick because it’s undeniably a lowbrow entertainment that features nothing more than insightful than fast cars and big explosions.
★★★ / ★★★★
What I loved about this film the most was its structured storytelling, yet it still felt organic because each of the character involved was like a mouse trying to find the way out of a maze. Steven Soderbergh, the director, presented three main fronts: Michael Douglas as a judge who became a recent leader against drugs in America, unaware of the fact that his daughter (Erika Christensen) is becoming an addict (with Topher Grace as the friend/boyfriend); Benicio Del Toro as a cop trying to catch cocaine shipments in the Mexican border, only to realize later the thin line between an ally and an enemy; and Catharine Zeta-Jones as a housewife who must make a decision on whether or not to aid her recently arrested husband for distributing drugs under the eyes of two cops (Don Cheadle and Luis Guzman) who keep following her everywhere. Each of those vignettes were equally interesting so I was excited whenever the picture would jump from one to another. I also noticed Soderbergh’s excellent use of warm and cool colors. At first I thought whenever the cool colors appeared, it meant that we were seeing the story from a good guys’ perspective and the warm colors meant from the bad guys’. But I was proven wrong just as quickly that it wasn’t that simple because, whenever it came to drugs, the good guys must confront their inner demons and choose the difficult choices over the right choices. The moral implications of each characters’ decisions kept piling up to the point where I was somewhat overwhelmed (in a good way) and it was hard for me to root for anyone for that matter. There’s a sense of realism about these characters and I was impressed because most pictures I’ve seen about drugs themselves or the war on drugs mostly involve crooked cops and gun-wielding, savvy-talking gangsters. In here, Soderbergh let his characters be actual people and there was a certain unpredictability to it. I think with another viewing in the future, I’ll come to love this film that much more. Although there may have been some things that I didn’t understand, such as some of the legal concepts and the intricacies among the hierarchy of drug bosses and henchmen, I can admit that this was a rich, extremely layered picture worth viewing at least once.