I appreciate the effort they put into bringing the Santoverse back into alignment with mainstream cinema; the immigration-themed action-melodrama was pretty central to pop-film around this time. Of course, if you approach that theme via Santovision, you still get slavery and organ-harvesting in the service of Mad Science on that South Texas farm where nobody notices the armed guards posted all around its perimeter... but that's not even much different from the loopier, more exploito 'migra' movies -- look at…
Mamma Mia knock-off, stuffing ninety-eleven songs by Juan Gabriel into an underdeveloped dramedy script. Kind of an offbeat idea, and - hey - it wasn't all that bad; some camp-lite touches, and some snarky humor, in the first reel, made it pretty bearable. For the first half-hour, at least -- after that, not so much; it ran dry pretty quickly. Agnes de Mille meets Bollywood choreography was okay. On the second song it was less okay. The rest of the…
It's got a gun and it's got a girl, so it's cinema. I think the only thing I can do right now is transcribe the notes I made to myself while I was watching it. Sustained thought? It's usually beyond me... and I want to read up on secondary materials before I commit to anything.
It's absolutely a sequel to L'Amour Fou -- in that one, the characters were struggling against the collapse of meaning, and in this…
Glib and carelessly-imagined ode to privilege. I tried to ignore my distaste for the superficial artsiness of the characters, but after the scene where the blonde girl decided it would be kicks to go to a slummy-looking neighborhood and photograph sex-workers I just couldn't. Esp. when the SW were all "Hello, American Lady Woman! We love you! Come taste the wines and cheeses of my village!"
Art is one thing, lifestyle-pimping is another.