I might go to twice a week, probably Sunday and Thursday.
Two sentence review: See Bruno if butt sex jokes never get old. See Máncora if you want to see Latin Americans get into multiple sexual situations.
Bruno-I am not against peurile humor In fact, I am usually quite for it, especially when in comes to movies. that said, I found Bruno to be a bit of a let down. Sacha Maron Cohen’s Borat was a loveable idiot-a buffoon whose mysoginist, racist, and anti-semitic opinions made you pity himo more than hate him, such was the delicately brutal extent of the satire. His irredemiably narcissistic Bruno is a far less sympathetic chacter. He has all the elements of a wortwhile satire but Cohen seems to lack the nergy, either lazy bacuse of-or disappointed in-the facile joke of gross out gay sex humor and homophobes reacting to it.
Bruno and the scenes themselves seem to register that the joke is to easy, and the film suffers. In a major directorial misstep, a soundtrack is meant to heighten the joke (one of the last resorts of filmed comedy), but simply serves to take away from the documentary feeling that made Borat so refreshing.
Bruno has often been a vastly entertaining character on the Ali G show, but there his target was much more the fashion world. What was shocking there was that his idiocy was taken so eriously. It was not lerely an exercise in “let’s find homophones in the U.S.”. The film’s reliance on shock over satire eventually leaves the film only able to satirize Cohen and his team as puerile, unclever boys still enamored the the term “but sex” (ha!). A fine joke, in my mind, but not the main joke.
Mancora. Well directed and anchored by engaging acting, this film suffred in that it could never let go of the foreign language, let’s-get-selected-at-sundance feeling. Drama by gratutious sex secenes and a plot fuelled by sexy people who all sleep with each other and fill the rest of their time doing drugs and providing sexy voice overs.
The film begins with Santiago getting beat up and dumped unceremoniously and unconsciously off a dock. The rest of the story is done through flashback. We learn that Santiago has travelled to the seaside town of Máncora with his half-sister, Ximena, and her obtuse husband Iñigo. Santiago is apparently struggling to deal with his father’s recent decision to leap off a bridge (a misnomer: leaping or jumping is something done to reach high, clear a gap, or over come an obstacle, this sort of suicide is frequent a more a step, a lethal acquiescence to physical laws).
I say Santiago is apparently strugling, because from the scene of his father “jumping” to the final cathartic scene, barely ten lines of dialogue mention his father. It becomes little more than a melodramatic subplot.
While the plot and the acting is good enough to keep one interested, the psychological weight of the film has shaky foundations. It is essentially the story of a self-absorbed party boy who sleeps around and deals with the guilt involving his father’s suicide by partying and sleeping around. The films end, in which he has the underwater realization that he love Ximena and that his “life isn’t over yet” is more a function of mathematical reasoning (he is only 21) than the growth of character.