I've never been a big admirer of Iñárritu's ambitions—his capital-T Truth feels too much like capital-M Movie. Oddly, I thought of Sirk, and how I like a soap opera that smuggles in serious statements more than a serious statement that pretends it's not half soap opera. But his debut's end-of-youth, something-to-prove mode suits him, and you have to admire the narrative energy he can sustain for two and a half hours.
This was my first introduction to World Cinema, when I watched this in 2000. A great film with a story that keeps your eyes on the screen. A film full of individual mistakes and unlucky happenings. A film with a sense of family that kind of staggers through the story but not quite reaching the peak of 'perfection'. No family is like that anyway!! Loved it...
Alejandro G. Iñárritu delivers an impressive blend of drama and crime in this dog-themed film that features scenes that may very well distress animal lovers (although I have looked into it further and am assured that any scenes of harmed dogs are all very well faked).
Echevarria and Garcia Bernal are fantastic. The film works best when the camera is constrained within viciously tight quarters and has to follow non-stop action. The plots involving the wealthier people don't have that same claustrophobic, frenetic pace; the rooms are larger and the problems are hidden (in the phone, under the floor, etc.), so these stories are duller to watch unfold. Still, brilliant overall.
A dark, brooding but beautiful anthology film about several people, each from a different social class and background, finding success either financially, emotionally, or personally. I don't really enjoy the second act/story too much, but it plays a big part in the overall film's arc. I truly recommend watching this by a great auteur.
It is a contemporary equivalent of Kurosawa’s Rashomon, or, of Tom Stoppard’s Rosencrantz and Guildenstern are Dead, only following the collateral of every character. 21 Grams and Babel also look to a similar apparatus – a truck collision; a single gunshot – Iñárritu here laying the foundations for his cinematic language, one that is conceptualised even before his career found heights with Birdman or The Revenant.
An incredible, powerful, exquisitely crafted film. This film alone would make me call Iñárritu one of the greatest directors I know. Superb acting from the whole cast. A film about the tragedy of the destructive side of human nature. Engrossing and gripping for every one of its 154 minutes. I thought this was one of the best films I'd ever watched when I saw it as a teenager and I appreciated it even more this time.
Although critically acclaimed Amores Perros is not a flawless film. At its core it is a story about loss centered around three characters. Two of them are given the emotional depth needed to pull off a concept such as this, yet the middle part proved completely unfit to grasp me. Still the movie can be considered a great endeavor foreboding some of the open world mechanisms of for instance City of God.
Jumping between three separate stories with almost no relation to each other for no clear reason, this one ends up a bit of a mess. I loved one story, liked a second, was meh on a third. So as a whole I guess I'll average it out and say I liked it? Would be better as just three short films though. It gets a B.
Même feeling en écoutant ce film-choral que pendant Le Parrain: Tensions incroyables, situations difficiles et personnages pathétiques tentant de s'en sortir malgré eux. Les trois lignes directrices s'enchaînent bien, malgré un second acte aussi ingénieux, mais hors du ton général du film, ce qui ralentit l'oeuvre. L'intrigue, tenue par des acteurs talentueux, est divertissante et violemment rafraîchissante.
The only film about dog fighting that I can stomach multiple times. The lives of three very different people in Mexico fusing in one big car crash. We get to know these people pretty well, see them at their highest and mostly their lowest. An intense tear-jerker for sure.