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Michael Elliott of MovieParables says, "There are films which run for 3 or 3½ hours which nevertheless seem to pass in the blink of an eye. The Mexican takes the opposite approach. Its two hour playing time feels more like three." Phil Boatwright of The Dove Foundation has more basic objections to the film. "Each screwball crisis is highlighted by crudity, profanity and comic bloodshed." Bob Smithouser of Focus on the Family finds offensive elements aplenty in the film regardless of its complexity. "Sure, the story itself may be interestingly crafted, but that's like saying the Bates Motel has nice eaves."

In my own review at Looking Closer, I confess that I checked my watch frequently as the film collapsed. I could almost hear the actors thinking to themselves, "Well, we tried, but we just can't make these puzzle pieces fit together, so let's wrap things up and go home." A kidnapper named Leroy (James Gandolfini of The Sopranos) was the only character worth paying attention to, the only one with dimension. And, in what one critic called that "a spasm of ineptitude", the writer took him out of the story far too early, a mistake from which the movie never recovers. I also have to agree with David Denby at The New Yorker, who expressed disappointment at the lack of chemistry between Brad and Julia in their few moments together onscreen. "As they continue their Punch-and-Judy act," he writes, "it's hard to see any signs of the alleged great love between them (we keep hearing about it) which makes them fight so hard. As romantic comedy, The Mexican is a dud—these two just don't go together."

But, looking closer, I have to give the film some credit. Its heart, although barely beating, is in the right place. When was the last time a Hollywood romance dared admit that love cannot survive on good feelings and sex, but requires hard work, commitment, and living graciously with each others' differences? In an age when the slightest agitation seems to justify breakups, affairs, and divorce, at least The Mexican chooses a more grown-up idea … responsibility.

Is it possible to write about See Spot Runwithout making dog jokes? This movie, directed by John Whitesell (Calendar Girl), qualifies as the Formulaic Un-Funny Canine Movie of the Month. David Arquette, Michael Clarke Duncan, and several other recognizable stars line up to play second-banana to a hound in a movie that appears to be made for children. But a few critics are asking who is responsible for deciding that grownups get the well-made movies and children can get by on jokes about doggie doo.

Critics are almost unanimous in saying this dog won't hunt. (D'oh! There I go.) "The slapstick is lame, when not crude," observes Phil Boatwright of The Movie Reporter. He recommends My Dog Skip as an alternate, and far-better, dog movie for the family. MovieParables' Michael Elliott also bemoans the prevalent potty-humor. "It is a shame really because as inconsequential movies go, this one does have some bright moments as well as some character development worth watching … even though the characters resemble cartoons rather than anyone in real life." Roger Ebert at the Chicago Sun-Times is troubled by the film's baser qualities as well. "Consider that there was a time in our society when children were entertained by the Lassie pictures, and you can see that the national taste is rapidly spiraling down to the level of a whoopee cushion." Yet, despite others' complaints, the family-friendly folks at Preview recommend the film—"Audiences from 8 up will think this film is doggone good fun."

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March (Web-only) 2001, Vol. 45