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.
Low-budget horror film Alone in the Dark left a nasty smell in cinemas last year--it has been dishonored at the annual Stinkers Bad Movie Awards.
The Los Angeles-based Bad Cinema Society has announced its anti-Oscars, and Alone in the Dark has been named the Worst Film of the Year.
The horror movie also claimed the Worst Director (Uwe Boll), Worst Actress (Tara Reid) and Worst Special Effects 'prizes,' but it didn't pick up the most dishonors.
That claim to shame went to The Mask sequel Son of the Mask, which claimed five Stinkers, including a Worst Actor gong for Jamie Kennedy.
Jessica Simpson was also named and shamed--she picked up three awards for her portrayal of Daisy Duke in The Dukes of Hazzard, including Worst Song for her rendition of the Nancy Sinatra classic “These Boots (Are Made for Walking).”
The full list of Stinkers is:
Worst Film--Alone in the Dark
Worst Sense of Direction--Uwe Boll (Alone in the Dark)
Worst Actor--Jamie Kennedy (Son of the Mask)
Worst Actress--Tara Reid (Alone in the Dark)
Worst Supporting Actor--Tyler Perry (Diary of a Mad Black Woman)
Worst Supporting Actress--Jessica Simpson (The Dukes of Hazzard)
Worst Screenplay--Fantastic Four
Most Painfully Unfunny Comedy--Deuce Bigalow: European Gigolo
Worst Song: “These Boots (Were Made For Walking),” By Jessica Simpson
Most Intrusive Musical Score--Son of the Mask
Less Than Dynamic Duo--Samuel L. Jackson and Eugene Levy in The Man
Worst On-Screen Couple--Jamie Kennedy and "Anyone Forced to Co-Star with Him in Son of the Mask"
Most Annoying Fake Accent, Male--Norm MacDonald (Deuce Bigalow: European Gigolo)
Most Annoying Fake Accent, Female--Jessica Simpson (The Dukes of Hazzard)
Least 'Special' Special Effects--Alone in the Dark
Worst Remake--Yours, Mine & Ours
Worst Sequel--Son of the Mask
Worst Resurrection of a Classic TV Series--The Honeymooners
Worst Performance by a Child--Adrian Alonso (The Legend of Zorro)
Worst Child Ensemble--Yours, Mine & Ours
Foulest Family Film--Son of the Mask
Least Scary Horror Movie--The Fog
Most Overrated Film--Syriana
Worst Animated Film--Chicken Little
Article Copyright World Entertainment News Network All Rights Reserved.
Alejandro (Banderas) the former thief turned defender of the downtrodden seems poised to give up his swashbuckling ways as California shifts from Mexican territory to U.S. statehood. But he stubbornly refuses to be domesticated. A rift grows between Mr. and Mrs. Zorro when his wife Elena (Zeta-Jones) insists he’s not there for his spirited young son Joaquin (Adrian Alonso). But even as Elena appears to divorce Alejandro and dally with a mysterious dashing old schoolmate (Rufus Sewell) Zorro remains a much-needed force of good when he discovers a plot that threatens to tear the U.S. apart. Still ranking high among the most beautiful people currently on the big screen Banderas and Zeta-Jones successfully evolve their on-screen relationship to reflect the too-long passage of time between films. If only the arch energy they bring to their banter and the passion they heat their love scenes with weren’t hindered by the clichéd by-the-numbers script. Meanwhile though a semi-believable potential romantic rival to Banderas the ever-arresting Sewell remains one of the most underutilized actors in Hollywood relegated to yet-another period heavy role. Alonso shows pluck as the budding Zorro Jr. but his charisma is dampened by overly cutes-y scenes and too-modern one-liners. Even though both Banderas and Zeta-Jones have emerged as top-flight actors and A-level movie stars since the original the sequel still sorely misses the class and gravitas Anthony Hopkins brought to the first outing. None of director Martin Campbell’s films since The Mask of Zorro have demonstrated the same whip-smart panache and sadly this sequel though serviceable is no exception. He competently carries off the necessary but familiar-feeling action set pieces and at times he lets the simmering sex vibe between his stars run loose albeit briefly on the screen. The film certainly isn’t so lackluster as to provoke bored Zs from the audience but it’s a shame to see El Zorro’s blade this dulled.
Innocent Voices depicts the brutal reality of El Salvador’s 1980 civil war as seen through eyes of an 11 year-old boy who may soon get drafted by the army despite not understanding what the war is about. Though both sides were soldiered with young boys it was the government that actively recruited all 12-year-olds and forced them to fight. Eleven year-old Chava (Carlos Padilla) is about to turn but that doesn’t stop him from trying to enjoy life. Since he’s the man of the house--his father left to earn money in America and never returned--Chava wants a job so he can help his overworked mom (Leonor Varela) who quit her restaurant job to stay home and shield her three children from stray bullets. His first job comes when he stumbles upon an old bus owned by a jovial but careless bus driver (Jesus Ochoa). The two become instant friends as Chava rides the railing and calls out the stops. Meanwhile he discovers love after summoning the courage to ask the teacher’s daughter to fly paper fireflies with his friends. All the while the moment he has dreaded--his 12th birthday--looms large over his days. His Uncle Beto (José María Yazpik) a guerilla fighter on the run tries to convince his mother to let Chava live with him in the hills where it’s safe but she can’t let him go. Once he turns Chava must hide with the other boys when the soldiers come around to recruit. But he grows tired of hiding and takes matters into his own hands running off to join the guerillas where he discovers a fate worse than fighting--that of never seeing his family again. Perhaps the strongest element in the film is the surprisingly mature Padilla. Getting a child actor to perform on any level can sometimes be an exercise in futility but director Luis Mandoki manages to get Padilla able to run the gamut of emotions--joy fear the awkwardness of new love--in a very real and convincing way. While most directors would shy away from placing so young an actor into difficult situations particularly the climactic scene where Chava faces execution and watches his two best friends get shot in the back of the head Mandoki defies conventional wisdom and challenges Padilla who is most worthy of the call. As Kella Varela exudes strength despite her constant worry over her children particularly Chava whose arrival home after curfew causes her to feel rage worry forgiveness and joy in a matter of seconds. Legendary Mexican actress Ofelia Medina has a small but important supporting role as Kella’s mother--she provides her daughter’s family with their last peaceful refuge before their lives are destroyed by the army. Minor characters such as Uncle Beto the Bus Driver and Chava’s classmates all serve their purpose though Xuna Primus the classmate Chava falls in love with handles emotional scenes with Padilla with similar maturity. Innocent Voices marks the first Spanish-language film for Mandoki since the international success of Gaby-A True Story--and he’s back true to form. With Innocent Voices he has crafted a powerful and emotionally gripping film that never shies from the ugly realities of how war destroys families and makes men of boys well before their time. Sharing screenwriting credit with actor Oscar Torres on whom the story is based Mandoki benefits from his strong cast particularly Padilla; a wrong choice in casting Chava could have sunk the film. Mandoki masterfully lulls us into thinking that Chava might have some hope of living a normal life in El Salvador--he plays with friends just like any other kid. But every time it looks as though Chava is experiencing life as he should bombs explode machine guns erupt and soldiers come storming in to remind us that he’s living in the middle of a civil war. Ultimately Chava’s only escape is to America but he must leave behind his family much like his father in the beginning. It’s a nice bookend to Chava’s development: Despite the chaos around him his position as head of the family and the specter of being recruited into the army his real transformation into manhood comes when he finds the courage to strike out on his own.