Nacho Libre
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Kooky, but Ultimately Mild Farce
Director Jared Hess made quite an impression on movie audiences with his first feature film, Napolean Dynamite, which followed the misadventures of a dorky but likeable nerd in Malad, Idaho. The film was snapped up after Sundance, and went on to do an impressive $45 million at the box office, while inspiring popular culture with phrases like “sweet” and t-shirts that read “vote for Pedro”.
Now comes his sophomore feature, Nacho Libre, which ups the ante by adding a big name comedian (Jack Black from King Kong), a big name co-writer (Mike White from School of Rock), and even features music by Danny Elfman. Hess has definitely been given the brass ring, but does he pull it effectively?
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One thing I will give Hess credit for, is that no one makes movies like he does. Here we have a goofball lead completely surrounded by an ethnic cast. Everyone exept Sister Encarnacion is downright homely. Nacho’s sidekick is unnaturally gaunt, while several other characters are flagrantly obese. It’s very un-Hollywood, which is a nice diversion.
Black is wonderfully zany, as we expect, and has a lot of fun playing Nacho. He mugs and wails and flexes and does other such Jack Blackian things, all of which made me smile. Nacho is really just a stupid guy with no grip on reality, and I can’t think of anyone who could do a better job with this part.
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As a director, Hess is definately a minimalist. Many of his shots are static and two-dimensional (trademarks of a frugal indie director), with little style. I realize he letting his characters do the storytelling, but I hope he can develop as a visualist to let the camera be part of the story as well. He does break out of mold one time: when Nacho walks away from the orphanage in a cool wide tracking shot that goes slo-mo when he dons his mask. Here’s hoping Hess grows more in this direction.
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