An American bartender and his prostitute girlfriend go on a road trip through the Mexican underworld to collect a $1 million bounty on the head of a dead gigolo.
The movie is some kind of bizarre masterpiece. It's probably not a movie that most people would like, but violence, with Peckinpah, sometimes becomes a psychic ballet.
Fermented in a tragic romanticism placed firmly in a no-man's land between liberation and capitalism, Sam Peckinpah's 1974 thriller is a film that sticks in your mind's eye like a lingering sun spot.
Em seu filme mais pessoal, Peckinpah cria um anti-herói trágico que, através de cotidiano repleto de crueza e miséria, alcança uma improvável redenção através de suas ações e intenções tortuosas.
Fermented in a tragic romanticism placed firmly in a no-man's land between liberation and capitalism, Sam Peckinpah's 1974 thriller is a film that sticks in your mind's eye like a lingering sun spot.
Here's your head's up: Trashy and savagely comic, Alfredo Garcia is a voyage into the twisted head of one of Hollywood's most uncompromising directors.
For something so bleak, so purposely revolting and unsentimental, there are reservoirs of profound poetry in Alfredo Garcia, the only film that Peckinpah ever considered completely his own.
Not all moments in this film are winners - specifically the first half of the film. It's all spent getting to know Bennie and his friend/girlfriend/whatever she is to him. All of this leads up to the cemetery scene. Everything after that is great. It's just that first half that needed some work. I like Warren
Oates, but I felt like he wasn't on top of his game here. I wouldn't call this a bad film, just unbalanced in that it doesn't get interesting until halfway through.
February 17, 2011
Tim Salmons
Super Reviewer
Another movie I want to see again sometime, I don't remember it well.
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