There's enough heart to the direction and acting to endear, but with his script and, to a certain degree, directorial efforts, Carl Franklin cheapens this drama with subtlety issues so glaring that the final product typically feels like some kind of a TV film, if that, and does so with a certain ambition that saves the film about as much as it brings it to the brink of collapse. At least as screenwriter, Carl Franklin bombards this effort with cheesiness, found primarily within questionable dialogue that waters down a sense of genuineness of storytelling, as well as within a blatant overemphasis on anything from dramatic depths or near-supernatural themes that strips film of much potentially intriguing ambiguities. It's hard to spot it, but if you look deeply enough into this story concept, there is some potential for relative uniqueness, it's just that it's seriously undercut by an execution that goes far along the opposite route, offering hardly anything that you've ever seen before within characterization, conflicts and overall path, which I will go so far as to say feel, not simply generic, but trite, possibly because conventionalism is mixed with a certain cheesiness that is found in weaker, but just as misguided dramas. You really do have to see this film to get an idea of just how all over the place it is, there is so much to focus on and so much unevenness that, after a while, you start to forget what all is happening, leaving focus to feel more absent than inconsistent, even though most every subplot keeps consistent with a certain major aspect: familiarity. the quantity of which I doubt is as substantial as the amount of complaints the Mexican and black communities would direct to me if people actually read my reviews, or at least were interested enough in this film to read a review of it.Ī mess in a number of ways, the film can't even get a grip on its pacing, glossing over certain promising pieces of exposition, then proceeding to make up for time lost by bloating itself with a considerable excess of material, much of which runs together and ignites repetition, while just as much goes so far as to craft multiple full-fledged story layers and subplot that ultimately feel kind of superfluous, giving the final product more meat than it can hope to chew, what with its incoherency in pacing. Just when you figured Franklin couldn't make any less money back when he was just worrying about black people problems, he does poverty in the Mexican culture no favors with this effort, which is a shame, because I like this film, and yet, I still have some complaints. Either way, after a ten-year hiatus, Carl Franklin is back to directing feature films, and I'm glad of that, because by changing his route as a maker of films about minorities, he finally settles the debate the debate to see which ethnicity receives more attention from Americans: blacks or Mexicans. No, this is yet more Mexican Catholic problems, folks, which would be fine and all if people who may need these messages were actually seeing these films, because no one saw "For Greater Glory", and they're sure not going to see this film. Man, Of Machines sure changed their name out quite a bit, and you know what, they haven't gotten any better, but don't worry, fellow '70s nostalgics (I was born well after the '70s, but I'm a little crazy and think I'm older than I actually am, so there may come a day where I snap and actually think that I was a flower child or something, cat), because this isn't about angsty musicians' problems. or rather, before the days in which they were known as We Are Kings. or 1940s, or whatever, back when music was actually good, so it's definitely a safe bet that this film isn't about the origin of the modern, Atlanta-based, post-hardcore metal band Of Machine, starting out with the days in which they were known as Bless Me, Ultima.
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Jokes aside, this film has some pseudo-fantasy elements, and I've neither looked into the novel upon which this film is based nor the "Ultima" video game series enough to figure out just how different the premises are, but it's a safe bet that this book was not based on Origin Systems' "Ultima", because it was released almost ten years before "Ultima I", and is set in the 1940s on top of that. They say that you can't make a good video game film, but what handful of people who are actually seeing this film say it's pretty decent, probably because this film is such a loose adaptation of "Ultima" that it's not about fantasy battles, but about a Mexican boy coming of age and finding his religion around the WWII era.
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