Amores Perros (2001)
Critic Consensus: The brutality of Amores Perros may be difficult to watch at times, but this intense, gritty film packs a hard wallop.
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as El Chivo
as El Chivo
as Aunt Luisa
as Susana's Mother
as Octavio's Mother
as Andres Salgado
as El Chispas
as El Jaibo
as Baby Rodrigo
as TV Announcer
as TV Announcer
as Man at Junkyard
as Fat Lady
as Luis's Mistress
as El Pelon
as Daniel's Secretary
as Man at Meeting
as Woman at Meeting
as Judicial Police Agen...
as Man 1
as Man 2
as Boy Caretaker 1
as Boy Caretaker 2
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Critic Reviews for Amores Perros
One of the most honored and most expertly articulated Mexican films of recent years.
Recalling Reservoir Dogs and Pulp Fiction - but edgier than both - this is a hell of a first film. For all its bonecrunching savagery, it's also a fundamentally moral work.
It's good and good-looking and features one of the best soundtracks in years ... but it's also slick and schematic, weak on feeling and overly indebted to Tarantino.
Inarritu's talent may be derivative, but it's applied to a setting he knows well and whose vibrancy he's keen to convey.
Screenwriter Guillermo Arriaga and director Alejandro Gonzalez Inarritu exert such control over the story that even a cute doggie disappearance develops into a toilet-trained take on "The Telltale Heart." Warts and all, "Amores Perros" is love, actually.
Audience Reviews for Amores Perros
A 'Pulp Fiction'-esque film dealing with several characters and how they are all interconnected amongst the dirty, bleak streets of Mexico City, where dogfighting is common and how a vicious car crash wrecks the lives of those involved. Director Alejandro Gonzalez Inarritu is a very skilled director whose stories are usually intense and very dramatic, and this is as big and successful and opening film as any director out there has ever had. The way he weaves his stories together despite starting them out completely separate from each other, combined with how he paces his film and makes 150 minutes seem like an hour and a half film, is nothing short of incredible. There are a few instances of over-acting and a few questionable turns in the story, but asides from this is an absolutely gripping piece of cinema that must not go unseen.
After a dog-fighter crashes into a supermodel, the film depicts each person's story.
Alejandro Gonzalez Inarritu's films never surpassed this, his first effort. An extraordinarily well-told story, Amores Perros reaches the Altman Standard for intersecting stories. Linked by the themes of love and dogs and love of dogs, each story is compelling in its own way, especially the final chapter, which takes advantage of a phenomenal performance by Emilio Echeverria.
What I found disappointing was the ending of the second story, which seemed to come to a depressing conclusion without substance. The same can be said of the first story's ending, but the final moments of the film, which conclude the third story, make up for many of the film's deficiencies as a whole.
Overall, Amores Perros is a fantastic debut for a rightfully internationally acclaimed filmmaker.
Love's A Bitch is a multi-layered and well-articulated mock to humanity's understanding of loyalty. Violent and profound. Aggressive and cruel. Prodigious.
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