Though it holds your attention all the way through to an enigmatic, spiritually tinged climax, the movie leaves you wanting more than the Vega Vidals' secondhand artistry is able to provide.
| Original Score: 2/5
Too rapid a departure from convention will leave audiences adrift in this dark comedy.
| Original Score: 5/10
Octubre is a film about currency, but how money binds people to each other and how it enslaves them aren't ideas the Vargas brothers seriously work out.
A visually interesting, well-acted and economical movie that ought to work yet doesn't gel as a complete experience.
| Original Score: 2/4
The Vegas, having pared their script to the bone - there are no speeches and not a line of exposition - hew to the less is more school of art-film realism.
| Original Score: 3/5
In this Peruvian film, an isolated male lone shark and a devout Catholic woman yearn for miracles to turn their empty lives around during a religious holiday.
It's slowly heart thawing, with a tone so droll that even one of the characters is wheeled in and out, comatose.
| Original Score: 3/4
There's a message here regarding loneliness and emotional isolation, but the movie's real miracle is that, however precious its premise, this slow-burning not-quite heart-warmer never succumbs to cuteness.
A quick, quiet movie that distills Lima, Peru, to a downtrodden version of its more dynamic current self.
A dolorous debut from the Peruvian brothers Daniel and Diego Vega and an oblique reminder that one person's fantasy can be another's nightmare -- at least at first glance.
'Miracles come true in October'-- both month and film -- not as melodrama but in the quiet way that reflects the emotions of three adults around an infant.
"Octubre" has the feel of something Jim Jarmusch might have made in his early years -- lots of dark humor that you'll think of in the middle of the night, and laugh about.
Not a lot happens in Octubre - and yet lives change. Worlds change...has a Jim Jarmusch quality of deadpan wit and cinematic restraint.
There is much observation of local detail and an overpowering sense of the oppressiveness of urban poverty, but the film never quite gets airborne.
It is through its loving attentiveness to words and silences that the movie draws us closer and closer into its universal theme.