‘Gringo: wanted dead or alive’: a cynical and desmadrado cocktail referential weighed down by its excesses

Project a look very fixed and intense toward their referents, regardless of the discipline concerned, may be a double-edged sword for a creator. Of course, to have clear aspirations tonal and stylistic marked by the work of key figures of the medium can be inspiring, but, on the other hand, I might get to drag down a production to the point of turning it into a sort of Frankenstein monster you may well have the fortune to be functional or, on the contrary, to get lost in an abyss full of defective copies.

With his second feature film, premiered under the title ‘Gringo: wanted dead or alive’, the specialist and cortometrajista australian Nash Edgerton —the brother of actor and also filmmaker Joel Edgerton— has open your shaker to give way to a thriller as old-fashioned and insane as their characters, in which the essence of the film Quentin Tarantino, Coen brothers and a Guy Ritchie less accelerated than usual to come together in a mix, to say the least, peculiar.

The result, far from being the disaster that would be expected from size assortment multireferencial, ends providing near two hours of unhealthy fun; led by a few leading esperpénticos and interpreted to the thousand wonders, a few dialogues agile, and loaded with bad baba, a humor as black as coal and all kinds of excesses that, ultimately, end up playing against and away from the remarkable.

If there is a word that fits one hundred percent —for good or for bad— with ‘Gringo’, that is “chaos”. And that is that once the cards are dealt and presented to the players during his absorbing first act, the tape gives by started a hilarious game in which farces, betrayals, and bad decisions are happening with anarchy and chance as mechanisms drivers.

to Bet to a greater extent by the casual —relegating what is causal to a second term— contributes to the plot of ‘Gringo’ a estimable ability to surprise you at any moment, enter into the peculiar universe of the film, keep us attentive to the screen between unexpected twists and cool action sequences. Unfortunately, Edgerton does not end of getting the dosage, transforming the mess a sindiós which decreases the pace up to areas alarming once crossed the equator.

luckily, the director manages to overcome the excess footage and prevent the emergence of dullness propping up his account on two fundamental pillars: a sense of comedy in which there is room for the conversation more absurd and to the slapstick as basic as it is effective and, above all, is a cast brimming with stars that take brightness of the meanness and churlishness of his characters —special mention to a few David Oyelowo and Charlize Theron spectacular.

‘Gringo: wanted dead or alive’ get to realize the complicated accomplishment to make a production built on the referents clear enough to convey a sense of deja vu constant; all of this with a very good hand for the address, a cast of inspired and a microcosm self-conscious and exaggerated that will delight all those who need a good dose of cynicism in our day-to-day.

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The news ‘Gringo: wanted dead or alive’: a cynical and desmadrado cocktail referential weighed down by his excesses, was originally published in Espinof by Victor Lopez G..

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