Review by Wayne Richards
It’s a question that has been asked in countless films and a
premise that has been dealt with many times with varying degrees of success: What happens when the bad guys’ money gets
ripped off and ends up in the hands of the good guys? Generally the bad guys come looking for it
and will do bad things to good people in order to get back what is rightfully theirs. A NIGHT IN OLD MEXICO handles this scenario
in a very commonplace manner.
A NIGHT IN OLD MEXICO marks director Emilio Aragón’s second
feature film and first (primarily) English language film. Previous work as an actor/composer/director has
brought Aragón a good deal of success on television in Spain. Coming off his writing/directing feature film debut
PAPER BIRDS (2010), which was well received at a slew of international festivals,
Aragón here takes a stab at a drama centered on a man and his grandson having unpleasant
dealings with bad guys (and worse guys).
Academy Award winner (and seven time Oscar nominee) Robert Duvall
employs his trademark idiosyncrasies in the role of Red Bovie; an elderly,
lonely and pissed-off coot who has lost his cattle, horses and his enormous Texas
ranch due to the inability to pay back a bank loan. In an incredible coincidence, on the same day
he is to leave his ranch for good, his wannabe cowboy grandson Gally (whom Red
has never met- due to a falling out with his own son Jimmy) shows up out of the
blue trying to find some work on the ranch and connect with his gramps.
Upon the unveiling of his new digs (in a woeful trailer park), Red refuses to "live in a tin can" and takes off in his Cadillac with Gally
(Jeremy Irvine, WAR HORSE), heading to Mexico to cut loose with some wild women
and show his grandson that there’s more to life than just “sucking in air and
pulling on your peter.” Duvall’s vibe here
as the hard-drinking, unruly geriatric is both entertaining and endearing. The two embark on a series of unlikely
misadventures that finds Gally attempting to control his grandfather’s raging in
whorehouses and dingy bars as they stumble through dusty backstreet alleys of a
Mexico where danger seems to always lurk. A grandson’s revelation, a bag of found
money, and an unrealistic relationship with a beautiful young Mexican singer (Angie
Cepeda) add to what results in a cockamamie story.
Preposterous “Good vs. Evil” scenarios dealing with ownership of the
moneybag play out in an unfavorable fashion.
This is screenwriter William D. Wittliff’s first
screenplay since THE PERFECT STORM (2000).
Prior to that he had great success writing screenplays for LEGENDS OF
THE FALL and LONESOME DOVE (for which Duvall won a Golden Globe for his performance);
and oddly, a trio of scripts that became movies featuring Willie Nelson in the
lead role. Wittliff is a lifelong Texan
and has often brought elements of his upbringing to his scripts, but here the
time frame given for the development of relationships between the three central
characters (and the life-altering events that take place) seems far too ridiculous
to be believed. So long, cowboy. Undistinguished and unsatisfying. 2 out of 4 stars.
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