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.
Jim Davis (Bale) is an Afghanistan War veteran who still dreams of night vision combat. He seems to find comfort in his Mexican girlfriend but he goes back to L.A. to hang with his “homie ” Mike (Freddy Rodriguez). Mike in turn is married to the lovely Sylvia (Eva Longoria) a successful lawyer who wants her man to find a purpose in life too--or at least a paycheck. Jim thinks the easy ticket will be a law enforcement job so he can take care of both of them but he’s rejected. So the duo hit their old haunts stealing drugs getting high and faking phone calls from prospective employers. But they’ve got to do a quick come down after Jim gets a call from the Department of Homeland Security. The fact he’s already smoked up will not bode well for the urine test. Still Jim finds a way to slip through because this job is more than a power trip for Jim. It could allow him to bring his girlfriend to the U.S. and marry her. Nothing goes exactly as planned though. Mike must choose between his dangerous friend and his loving stable girl while Jim must survive his past to have any chance at a future. If Christian Bale is starring in an indie you know he going to be at least slightly psycho--American Psycho The Machinist to name a few. Few could make Jim as realistic as he does. Denzel Washington successfully does a charismatic street tough in Training Day but the British Bale has the manner and language down. When he says homie and other less printable slang it sounds like he knows how to use it carrying himself like the pompous gangsta. He’s scary seems unstoppable and you actually may want him to meet his end. Rodriguez plays Mike like a naïve man-child going along with his buddy despite evidence that it’s not in his best interest. It’s the less showy part so it’s hard to compare but you always believe him in the role. Longoria has a truly thankless part the totally normal one in a crazy world. The audience will relate and side with her but the actress has no chance to show any crazy quirks. All the time her Sylvia is so much classier you wonder what the attraction ever was to Mike. Some supporting actors also stand out. J.K. Simmons does his authority thing as the Homeland Security recruiter while Terry Crews is the most dimensional drug dealer seen in a while. He’ll do crime but he admonishes the boys to respect their ladies. Everyone will call Harsh Times gritty but what does that mean? Is it because of the language and violence? That’s a no-brainer in a crime story. Is it because the film is all grainy? That makes it look like a home movie but it doesn’t make “Baby’s First Bath” gritty. Is it because it’s dimly lit? That’s just hard to see not gritty. Harsh Times is all those things but the problem is who wants to watch this? Director David Ayer does create a believable world of street life but the plot ambles on. Two unredeemable guys get into trouble. They toke up but aren’t funny about it. They fight and shoot people but for no reason. They amuse each other but their exploits are hardly cinematic. It’s actually not all that entertaining of a world to visit but it achieves the discomfort an audience would feel like driving through the streets with their windows rolled up. Maybe that’s the moral of the story but honestly we don’t need a two-hour lecture; we already know.
Three Burials is languid simplicity at its best. The story starts off as a murder mystery of sorts when a Mexican man Melquiades Estrada is found shot dead outside a dusty Texas town near the U.S./Mexican border. Without any family he’s written off and unceremoniously buried in a shallow grave. This is not at all satisfactory for Pete Perkins (Jones) a local ranch foreman and Melquiades’ only friend. Pete decides to investigate his friend’s murder on his own and finds out the culprit is a young hot-headed border patrolman named Mike Norton (Barry Pepper). He kidnaps Mike and forces him to disinter the body. With his captive in tow and the body tied to a mule Pete then undertakes a dangerous and romantic journey into Mexico to give Melquiades a proper burial. The older he gets the more Tommy Lee Jones excels at portraying a man of few words. Maybe its because his face--filled with years of deep lines and crevices--can explain everything just by staring off into the distance or by coldly glaring at an enemy. As Pete (for which Jones won best actor prize at the Cannes Film Festival) the actor hands us a lonely cowboy who finds a friendship with an unlikely amigo (played by Julio Cedillo). These two don’t head towards Brokeback Mountain territory but the bond is there. And when Melquiades is killed it sends Pete into a spiral of pain revenge and eventual self-discovery. As Pete’s captive Pepper (25th Hour) turns in an amazing performance as the bewildered border patrolman who goes on his own journey towards redemption. And on the sidelines is January Jones (American Wedding) as Mike’s wife and Melissa Leo (21 Grams) as Pete’s sometimes girlfriend who give boredom a whole new outlook and aptly show just how stuck a beautiful woman can be in such a nowhere town. It’s clear Three Burials is indeed very close to Jones’ heart. Shot almost entirely on his sprawling West Texas ranch Jones’ directorial debut was apparently born out of years of deer-hunting trips he took with Three Burials’ screenwriter Guillermo Arriaga (who also wrote the happy little film 21 Grams). “You don’t have to spend much time along the Rio Grande before you realize that [Arriaga’s] country and mine and the same ” Jones told Entertainment Weekly. Jones paints a vivid picture of this land--and the people--he obviously loves dearly while also depicting the racial and political tensions brewing along the border. But it’s Arriaga’s script that deftly changes the film’s pace. It’s a Western a dark comedy a revenge thriller that eventually turns into a Don Quixote journey of sorts--and the whole thing just keeps you glued save for a few extraneous moments here and there. This could be the start of a beautiful collaborative team.