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.
After starting what he thinks is just another day by methodically brushing his teeth the way he always does IRS Agent Harold Crick (Will Ferrell) gets a visit from an uninvited auditory guest--Kay Eiffel (Emma Thompson) the author of his life. Little does she know while writing a book about a character named Harold Crick that the real Harold can hear her narrations loud and clear; little does Harold know that her novels don't have happy endings--that is until he hears it in her narration which states that he is to die. Luckily she's in the midst of writer's block so he has some time to find out well how much time he has to live. He immediately consults a literary professor (Dustin Hoffman) who instructs Harold to further pursue a relationship with an anarchistic baker (Maggie Gyllenhaal) he is currently auditing in order to learn more about the course the novel will take. The relationship flourishes and he’s happy for the first time in a long time but will art imitate--or end--his life? Ferrell seems to be mimicking the exact path of his direct comedic-superstar predecessor Jim Carrey even down to his first serious-ish role: Carrey’s first dramatic foray was the equally quasi-existential though much better Truman Show. Ferrell has no problem whatsoever making the transition--that’s just what abundant natural talent affords certain actors. But his crossover attempt should’ve been more subtle since audiences have come to expect at least one “streaking” scene per Ferrell film. As Ferrell’s heavily tattooed love interest the ubiquitous Gyllenhaal scores again. Fresh off roles as a stripper single mom (Sherrybaby) and a frantic pregnant 9/11 wife (World Trade Center) she proves that no matter her character’s physical appearance or mindset she can do no wrong. Ditto for Thompson who spends much of the film in pajamas and the throes of writer’s block--the "writer" prototype--much to the dismay of her publisher-appointed assistant played well by Queen Latifah. Rounding out the cast is Hoffman whose professor isn't totally unlike his answer provider in like-minded I Heart Huckabees. His character’s quirky humor is child’s play at this point for the veteran but a select few scenes between him and Ferrell are extremely satisfying. To liken Stranger Than Fiction to a Charlie Kaufman (Eternal Sunshine of the Spotless Mind Adaptation et al) script/movie is not totally without merit. Fiction captures the “vivid yet distant” essence that is common with Kaufman’s stories and subsequent movies. But whereas Kaufman doesn’t go out of his way to coddle audiences’ minds amidst his often obtuse movies writer Zach Helm and director Marc Forster seem to have audience appreciation (read: box office) on the brain. Helm’s idea is nothing short of genius in a way that’s different from the oft-mentioned screenwriters he’s compared to but somewhere en route he and/or Forster (Finding Neverland) compromised the vision. Because what starts out as a complex intriguing movie turns stale quickly especially given the inexplicable ease with which it transitions from a metaphysical story into a straightforward one. And Forster's tendency in the movie to undercomplicate is just as detrimental as the opposite extreme. The dialogue also falls somewhat flat often neither funny nor off-kilter enough buoyed only slightly by superb cinematography set direction and indie music featuring Spoon (whose frontman Britt Daniel reworked some of their best songs for the movie)--but we’ve come to expect that trifecta from similar movies.