Hermano is part sports film, part neorealist drama and a fully successful debut feature from Venezuelan director Marcel Rasquín.
| Original Score: 4/5
Venezuelan filmmaker Marcel Rasquin's Hermano is a well-meaning melodrama, equal parts heartfelt and contrived.
| Original Score: 2/4
The story feels driven more by coincidence than authenticity, leading to an eye-rolling climax.
"Hermano" is well-trod acreage, but there's a vitality here that's easy to appreciate.
| Original Score: 3/5
The sports-as-savior theme is an old one, but this confident movie, alternately volatile and tender, coats its clichés in winningly natural performances and Enrique Aular's kinetic photography.
An uneasy combination of good and bad, which earns a mild recommendation on the strength of the two lead performances and its success in capturing the desperate milieu of Caracas' teeming underclass.
| Original Score: B-
The over-the-top opening, which evokes baby Moses in the bulrushes, indicates grand ambitions, but unfortunately the gritty realism of Rasquin's cinematic style is just camouflage for another cliched sports flick.
| Original Score: 2.5/5
Rasquin's cinema verite style brings power to the story, and he has coaxed some good performances out of his leads.
| Original Score: 3/4
Scoring goals in soccer is hard. Hermano earns its points too easily.
| Original Score: C-
The overwrought story unfolds awkwardly, with one ridiculously contrived act of violence in the middle, and it piles on both sports-drama and up-from-poverty clichés.
| Original Score: 2/5
Rasquin and Jones avoid cliche to deliver an ending that hits home as hard as an unexpected football to the solar plexus.
Good football action and an inside look at the Caracas barrios cannot save this film from a thin script and sport drama predictability.
| Original Score: 6/10
Brotherly love put to the test in potent drama.