WHAT IT’S ABOUT?
Half-brothers Beto and Tato Verdusco live at home with mom work as fruit pickers and play for the local Mexican soccer team. Beto juggles a wife two kids and a gambling habit while Tato dreams of a singing career. One day fate intervenes when a soccer talent scout gives Tato the opportunity to try out for a big Mexico City team. Eventually Beto gets his own opportunity to play in the second division and the brothers’ new success and lifestyle will have significant changes and challenges for both guys as the contrast of sibling rivalry and brotherly bonds send them into an uncertain future.
WHO’S IN IT?
After first gaining worldwide attention in the 2001 sleeper hit from Mexico Y Tu Mama Tambien Diego Luna and Gael Garcia Bernal have each gone on to significant individual success and are now delightfully re-teamed in a film written and directed by Y Tu writer Carlos Cuaron who certainly knows how to get the best from his stars. As Beto Luna presents a three-dimensional portrait of a guy whose flaws threaten his future while Bernal is fun as Tato a goodhearted and friendly soul with misguided dreams of a musical career. The nature of the scripting finds each actor on screen alone much of the time but together or apart the teaming works just like it did the first time. Standout in the supporting cast is Guillermo Francella as Batuta the talent scout who sets the story in motion. He’s superb. Dolores Heredia as the mother and Adriana Paz as Beto’s wife ably round out the featured female roles.
While Rudo y Cursi never seems to take itself too seriously it’s not a mindless exercise concocted simply to get Luna and Bernal back together. There’s real heft in the underlying theme of the cryptic nature of real brotherhood and the film makes some surprising conclusions that add gravitas to Cuaron’s engaging screenplay.
Luna and Bernal are such an attractive team it’s a shame that the storyline separates them for a good portion of the picture. The separation may be necessary for the narrative but the scenes when they are on screen together are the ones that really crackle.
WORST CANDIDATE FOR MEXICAN IDOL?
Bernal gets his chance to sing a wretched Spanish version of “I Want You to Want Me” in a dopey video as his misguided character Tato proves sports talent doesn’t necessarily equal musical ability. It’s the movie’s most amusing scene.
NETFLIX MULTIPLEX OR TELEMUNDO?
Beyond obviously the Spanish-language audience Rudo y Cursi may cross over into other markets providing a much needed boon for foreign-language films in America. Give it a shot at your local theater first.
WHAT IT’S ABOUT?
A mysterious loner with a murky criminal past arrives in Spain ostensibly to carry out a mission though it’s not quite clear exactly what that might be. He walks (and walks and walks and walks) through various city streets towns and fields across the country on a journey that may be partially a dream or may be something else.
WHO’S IN IT?
Jarmusch veteran Isaach De Bankole (Night on Earth Ghost Dog Coffee and Cigarettes) is saddled with the role identified only as the Lone Man. Mainly he keeps returning to the same places and having the same conversations with people who remind him that “those who know they’re bigger than the rest should go to the cemetery.” Others ask him questions in Spanish (whether he understands any Spanish is unclear) to which he always replies in the negative. It’s an oddly silent deadpan performance written and played in one dimension. Other Jarmusch regulars also turn up including Bill Murray (for five minutes near the end) John Hurt Youki Kudoh Alex Descas and Tilda Swinton. If there was one reason to see this drivel it’s for Swinton’s trippy performance in blonde wig and big dark glasses — a lively cameo filled with filmic references from Rita Hayworth to Michelangelo Antonioni. The cast is rounded out with other fine actors whose talents are completely wasted including Gael Garcia Bernal Hiam Abbass and Paz de la Huerta.
Spain looks like a nice place to visit.
The Limits of Control is the kind of indulgence some filmmakers fall into when they feel they want to “stretch.” Unfortunately Jarmusch who has done some very interesting and distinctive film work including Down by Law Stranger Than Paradise and Broken Flowers just doesn’t have a story worth telling here. Experimental is fine but there should be some semblance of a coherent theme or point of view. Instead we mainly watch this guy walk in a dreamlike state for about two hours trying to figure out the meaning of a matchbox and repeatedly returning to the same waiter at an outdoor café to order two espressos in separate cups.
MOST MEMORABLE LINE OF DIALOGUE:
It’s a three-way tie:
”Wait three days until you see the bread. The guitar will find you.”
“Among us there are those who are not among us.”
And finally …
“Sometimes there are films where people just sit there.” (You got that one right!)
NETFLIX OR MULTIPLEX:
Netflix. At least if you snore through most of this you won’t be disturbing anyone else.
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.