The heartbreak of illegal immigration is vividly displayed in this poignant story of nine year old Carlos (Adrian Alonso) a boy living in Mexico with his grandmother while his mother (Kate del Castillo) works as an illegal domestic in Los Angeles trying to make enough money to send home so the son she has been separated from can live a good life--even if it means being without her. When the grandmother suddenly dies Carlos decides to cross the border and look for mom. As his journey continues he encounters a woman (America Ferrera) and her brother (Jesse Garcia) who make tuition money taking babies into the U.S. In this instance she decides to help smuggle Carlos across by hiding him in her van. Once he lands in Tuscon he meets a sympathetic middle- aged migrant worker named Enrique (Eugenio Derbez) who accompanies him to East L.A. Once there they try to locate his mother--their only clue being a vague description of the area around a pay phone she used in her weekly calls home to Carlos. The film which is shot mostly in Spanish with some English language scenes as well offers great big screen opportunities to some of Mexico’s biggest television stars including telenovela favorite Kate del Castillo. She delivers a moving performance as a mother living separated by borders with her only son but living “under the same moon.” The film really belongs however to young Alonso--a natural in front of the cameras who impressed American audiences as Catherine Zeta-Jones and Antonio Banderas’ son in The Legend of Zorro but breaks out here as the determined Carlos. Both create a touching mother-son relationship even though they are never in any scenes together. Also playing against type is superstar Derbez unquestionably one of Latin America’s most popular actors who develops a winning chemistry with Alonso making every moment of their screen time count. Ugly Betty’s Ferrera also turns up for some effective moments including a heart-stopping sequence in which she is questioned by border guards while the van carrying the hidden Carlos is searched. Although she has made some award winning shorts Under the Same Moon represents the first feature length film for Mexican-born Patricia Riggen. She succeeds on all levels emphasizing the characters in the story over the potentially political hot button topic of immigration which her film so eloquently humanizes. Working with screenwriter Ligiah Villalobos the two women give urgency to the tragic separation of mother and son caught between two disparate cultures. Given the time restraints and low budget Riggen’s command of the camera is impressive particularly in the inventive and almost spiritual ways she manages to bring mother and son together on screen even though they never share a shot. Use of music is also hugely effective with Carlos Silotto’s melodic score recalling a similar film about a young dreamer Cinema Paradiso. Ultimately though Under the Same Moon lives or dies with the actors and Riggen’ spot-on casting decisions--particularly in the case of Alonso--really lift it to new levels. Most of the actors have extensive TV followings and Riggen knew by casting them she would risk the wrath of Mexican film critics who uniformly look down on television. Doesn’t matter. Under the Same Moon has universal appeal and should find approving audiences around the world.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.
Ignacio (Jack Black) has never been particularly adept at anything but he has great passion for the things that matter to him: cooking and wrestling. Growing up in a Mexican orphanage ‘Nacho’ always dreamt of becoming a “luchador”--the term for a Mexican wrestler--and he even had the paunch to boot but alas it was highly forbidden by the religious orphanage. Now grown up he works as a chef for the only home he has ever known. He’s subjected to constant criticism at the hands of monks for the slop he calls food but claims he isn’t paid enough for quality ingredients. So as he sees it his only solution for more money is to pursue the forbidden fruit of becoming a luchador. He picks up a rail-thin peasant (Hector Jimenez) along the way to form a tag-team duo. Together they’re so horrendous that fans line up just for a laugh. But that makes them underdogs and we all know the fate of underdog characters in movies.
Jack Black maybe the best comedic actor of his extraordinarily gifted generation is a sight to behold. In Nacho Libre his mere pose which invariably sees him showcasing his belly as if a trophy is enough to arouse laughter. But once he opens his mouth forget it! Nacho’s broken English-and-Spanish dialect is tailor-made for Black as is his character’s penchant to break into Tenacious D-style song to profess his love for a nun (Ana de la Reguera). The problems with Black are due to his improper utilization at times (see “direction”) not his performance which is about as flawlessly inane as verbal/physical comedy gets. He taps into mania with an ease that hasn’t been seen since John Belushi. As Nacho’s equally hopeless sidekick Esqueleto Jimenez garners his fair share of laughs thanks mostly to the wrestling scenes. But his high-pitched yelps forced ineptitude and blank expressions grow old quickly.
Director Jared Hess should’ve quit after his first feature Napoleon Dynamite. Only because expectations for his follow-up in this case Libre simply cannot be met. That said he doesn’t only make sophomore mistakes; there is promise and talent on full display here. For instance Hess again exhibits an ability to find and/or create the most outlandish characters from the star all the way down to the unknown Mexican extras. But even at just over 90 minutes long the film drags and seems like a hilarious skit stretched way too far. That’s because although conceptually hilarious the story (which Hess co-wrote with wife Jerusha and veteran Mike White) is as thin as Nacho is portly. And as Hess has learned the hard way with bigger budgets come bigger constraints such as not-so-subtle humor (fart jokes pratfalls) to appease the teen masses. Hess’ fatal flaw however despite what will again be an underrated offbeat effort was to not stray further from his trademark movie thus keeping the animal that is Black caged--albeit in a large cage.
Heaven. Hell. Us humans in the middle. It's all very complicated. But John Constantine (Keanu Reeves) seems to have a handle on it. Born with a gift he says no human should ever have he has the ability to see what he calls "half-breeds"--angels and demons that walk the earth in human skin (and apparently there are a lot of them). Of course the horror of it is too much to bear and Constantine tries to take his own life. But he fails. Now having been to hell and back again quite literally Constantine is marked as an attempted suicide with a temporary lease on life. He patrols the earthly border between heaven and hell acting as an exorcist of sorts. Of course the guy isn't doing it because he feels empathy for the human race or anything. It's for purely selfish reasons. He hopes that if he sends the devil's foot soldiers back to the depths he'll gain some kind of redemption a free get-out-of-jail card so to speak. Constantine's attitude changes however when a skeptical police detective Angela (Rachel Weisz) enlists his help in solving the mysterious death of her beloved twin sister. They end up uncovering a twisted master plan brewing between the demons and angels which could bring about a catastrophic series of otherworldly events. Perfect.
John Constantine is a little like The Matrix's Neo--an ultra-cool but tormented man of little words with a sardonic fatalistic outlook on life who kicks a myriad of nasty-looking demons (instead of a myriad of nasty-looking machines) back from whence they came. Yes Reeves has done this before but that's because he's good at it. You can't blame him for sticking with something that works. Weisz also holds her own as the devoutly religious Angela who nonetheless has a hard time believing there are actual angels and demons running around among us. That is of course until she spends about 10 minutes with Constantine and sees just how real they are. As far as the rest of the humans in the film Shia LaBeouf (Holes) does a nice comical turn as Constantine's sidekick and protégé while Djimon Hounsou (In America) works his voodoo mojo as a witch doctor who has a long-standing if strained relationship with Constantine. The not-so-human counterparts are equally intriguing. Peter Stormare (Fargo) delivers a somewhat over-the-top but devilishly eccentric performance as Satan. Tilda Swinton (The Deep End) dons the wings of the arch-angel Gabriel to whom Constantine is always asking for a reprieve but who has got her own agenda.
Based on the DC Comics/Vertigo comic-book Hellblazer Constantine is demonic eye candy. Obviously inspired by the many music videos he's helmed in the past director Francis Lawrence making his feature film debut paints a pretty dark and moody world with shadowy wet rat-infested (or cockroach-infested) corners that hide the horrific demon half-breeds as well as all other kinds of terrible baddies. Then when we get into Hades itself where the demons and seplavites--a sub-genre of the damned who are sightless mindless soul eaters--prowl it's an apocalyptic landscape. Lovely place. Unfortunately the script isn't nearly as stimulating. It must be an arduous task adapting a series of comic books so to his credit screenwriter Kevin Brodbin does do a nice job introducing us to Constantine and his world. But Brodbin seems to have incorporated too much. As the action escalates more and more plot points and characters are thrown in complicating matters. By the time the long-winded climax is over you're exhausted.