Original storytelling in some parts. Great role by Gael, very natural as always

The cinematography is exceptional.

Fascinating “replica” (i.e. fictionalized version) of the real, incredibly bizarre and audacious robbery of the Mexican Museum of Anthropology by two disaffected college dropouts. Fictionalizing the story allowed the director to speculate on the motivations of the two thieves and to establish a narrative theme of history being a less than perfectly reliable account of the past. Really well done.

Es un buen trabajo de intriga, suspenso y drama del cine mexicano.

From the director of "Gueros", comes another cute and quirky film, and therefore another pleasant watch. Alonso Ruizpalacios's style is intriguing and creative, and the fictionalized story feels more honest and sincere of the real one. Not to be missed.

An unusual heist film.

Museo carece de chispa para conectar con el publico,a pesar de ser un vivo retro de patriotismo mexicano,no logra darle lo suficiente a un talento Gael que saca por bien librada su actuacion, su dramatico y frustrante argumento es el vivo retrato de un mexico en 1985 que funciona por momentos y por otros no.

Had so much fun watching. Gael never ceases to amaze me. His partner was great, too! The directing, thought not all in one style, gave me life. Normally, It would bother me, but even though he stylized scenes differently at times, it helped tell and continue with story. The cabaret/bar fight scene was hilariously entertaining. Alonso is a gem. This movie is a gem. Gracias!

Alonso Ruizpalacios has pleasantly surprised me. I was expecting a pretentious piece about cultural appropriation and instead, I found a very entertaining story that also manages to beautifully portray the relationship of the Mexican people (and any third-world country citizen for that matter, the theme is universal) with their culture. Ruizpalacios has several interesting surprises in his story. Some, such as Leticia Brà (C)dice's quasi-cameo, are very gratifying. Others, as a couple of meta-moments that wanted to mean something that I didn't quite understand, can be confusing. But in general, this is one of the films with more personality of 2018. PD: Special mention to Tomás Barreiro's score.

Romántica forma de narrar esta historia que como advierte desde el principio: "Para que contar la verdad si así se ve más bonito". En navidad de 1985 un par de estudiantes de veterinaria se robaron mas de 100 piezas del museo de antropología del DF, esta es la historia vista a través de los ojos de Ruizpalacios y con una enorme actuación de Gael y de Ortizgris.Romántica forma de narrar esta historia que como advierte desde el principio: "Para que contar la verdad si así se ve más bonito". En navidad de 1985 un par de estudiantes de veterinaria se robaron mas de 100 piezas del museo de antropología del DF, esta es la historia vista a través de los ojos de Ruizpalacios y con una enorme actuación de Gael y de Ortizgris.

Romántica forma de narrar esta historia que como advierte desde el principio: "Para que contar la verdad si así se ve más bonito". En navidad de 1985 un par de estudiantes de veterinaria se robaron mas de 100 piezas del museo de antropología del DF, esta es la historia vista a través de los ojos de Ruizpalacios y con una enorme actuación de Gael y de Ortizgris.

Interesante. La fotografía te transporta a la época.

A mixture without internal coherence

Una buena película buena, excelente fotografía y dirección.

Sometimes it is good to be surprised but you could also be disappointed when you end up seeing something different from what you expected from a film. Case in point: this Mexican film, replicating real events that took place in 1986 when two young men, Juan and Benjamin (played by a youthful Gael Garcia Bernal & Leonardo Ortizgris) rob the National Museum of Anthropology of 140 Mayan artefacts. The result is far from the slick operation we've seen in films such as Ocean's 11, and reminiscent of the recent American Animals ???? (which does a better job than this film), we come to understand they are motivated more by boredom than money. Bumbling their way through, the heist film becomes a road movie and then some. On paper, this sounds like a fun thriller but director Alonso Ruizpalacios who also co-writes with Manuel Alcala, have different ideas and surrealist elements keep popping up in the form of dreams and hallucinations; and then there is an encounter with Leticia Bredice's aging showgirl, Sherezada, which I am not sure if it has any special meaning, but for a non-Spanish speaking audience like me, it just seems like an unnecessary detour. All this means that the pacing is out of whack and the 128 mins film drags. Shot and scored like a 50's film by Fellini or Visconti, it shows ambitions and there is something interesting the film wants to say about the plundering of another's history and culture but all that is lost in a film that I find myself disengaging with as it is not witty enough for a comedy nor exciting enough for a thriller.

(M-F) 8.2 [Mx] [C]

This delivery is a very endearing take of life in Mexico in the 80s, with the excuse of following a very notorious museum heist, in which dozens of important artefacts were stolen from under the noses of the Mexican authorities from the most important Mexican museum, we actually pass review to middle-class life in Mexico in the period. Our protagonists, Juan and Wilson, are two late twenties good for nothing that spend their times doing pranks and playing Atari console games, all that changes when a long-cherished project presents itself to them and without actually knowing why they put in practice their long-conceived plans to steal major pieces from the Anthropology Museum during a long end of year break during which the museum is unusually closed. The delights of the film may only appeal to Mexican audiences, Mexico City audiences even, the fact that the protagonists are from Ciudad Satellite stereotypes immediately all the characters involved as middle class, well to do (they listen to Bach during their teenage angst years), alienated by life in the city of which they really don't form part. The joy of the film is how well researched it is, from the original news snippets delivered with North Korean patriotic fervour by celebrity news readers, to cheap porn photo magazines and films whose protagonists are Argentinian burlesque artists but also the sense of this middle class, catholic and politically naive, that they will do better under the corrupt system that is beginning to unravel, the hint provided by military road blocks in order to catch the incipient drug dealers. For those that won't identify with the depiction of life of the sateliteños, the wisecracking dialog should provide enough comic relief, all this peppered by strange situations and characters , like the tale of how one of Juan's uncles was blamed for a fire that burned down the family home, or the acquaintance of Juan with the porn star of his dreams. This film is destined to become one more success in the acting career of Gael Garcia Bernal, portraying a man 10 years younger, and a confirmation that Antonio Ruizpalacios is a director to follow after his also excellent debut, Güeros.

Visually beautiful, with good acting, an interesting story, ?and protagonist.

Positive reviews are too one sided, I found the movie to be filled up with unnecessary scenes and dialog just to fill a film that doesn't delivers or sets a mood, the lack of background music, leaves you bored of seeing just people talk. Also the camera work is bad a lot of movement and without a focus. I'm not interested in finishing it

We went to the North American premiere at TIFF. It's an incredible film that speaks volumes of Mexico then and now - which clearly translates to the US and abroad. Cinema at its finest. Bravo!!!