Javier Bardem struggles manfully with a prosthetic belly while Penélope Cruz is sidelined in this confused film
Until recently, any biopic of drug lord Pablo Escobar starring Javier Bardem and Penélope Cruz – especially one directed by the well-regarded social-realist Fernando León de Aranoa (Mondays in the Sun) – would have been presented as a major event. Perhaps Netflix’s Narcos has reduced any such project’s thunder. After lukewarm responses at last year’s Venice and Toronto festivals (where it premiered as Loving Pablo), the biopic we’ve ended up with has had to assume an alias, a development that might have brought a crooked smile to its elusive subject’s face. The film sneaking on to UK screens this weekend as the bluntly no-nonsense Escobar is not without interest, sweep or colour, but bears signs of high-level, edit-suite indecision over what sort of movie it wants to be. It’s an alluring product,...
Until recently, any biopic of drug lord Pablo Escobar starring Javier Bardem and Penélope Cruz – especially one directed by the well-regarded social-realist Fernando León de Aranoa (Mondays in the Sun) – would have been presented as a major event. Perhaps Netflix’s Narcos has reduced any such project’s thunder. After lukewarm responses at last year’s Venice and Toronto festivals (where it premiered as Loving Pablo), the biopic we’ve ended up with has had to assume an alias, a development that might have brought a crooked smile to its elusive subject’s face. The film sneaking on to UK screens this weekend as the bluntly no-nonsense Escobar is not without interest, sweep or colour, but bears signs of high-level, edit-suite indecision over what sort of movie it wants to be. It’s an alluring product,...
- 9/14/2018
- by Mike McCahill
- The Guardian - Film News
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