Jerry Welbach, a reluctant bagman, has been given two ultimatums: The first is from his mob boss to travel to Mexico and retrieve a priceless antique pistol, known as "the Mexican"... or suffer the consequences. The second is from his girlfriend Samantha to end his association with the mob. Jerry figures alive and in trouble with Samantha is better than the more permanent alternative, so he heads south of the border.
Mixed reviews largely converged on one verdict: James Gandolfini, in the unlikely role of a gay hitman, runs away with the movie, while the two stars audiences actually came to see spend most of the film apart and fail to generate the spark their pairing promised. Brad Pitt's subplot drew particular criticism for dragging, leaving a film that works in patches but can't sustain its ambitions over a lengthy runtime.
“The scenes between Roberts and Gandolfini make the film special. ... Their dialogue scenes are the best reason to see the film.”
Cedar Rapids Gazette
“The Mexican is sporadically entertaining. It works when Gandolfini is on screen; when he leaves, he takes the movie with him. ... From here, director Gore Verbinski intercuts between two road movies, one of which (the one with Pitt) is downright boring.”
Titusville Herald
“Roberts and Pitt are generally terrific. In The Mexican they are horrid. ... Gandolfini is a star on the rise. His work in The Mexican is solid. Frankly, he's the only bright spot in this dark and pointless movie.”
Walla Walla Union-Bulletin
“If it had been a Pitt/Roberts two-hander, there wouldn't have been room for Gandolfini's wonderful character, and that would have been a shame.”
Doylestown Intelligencer
Adventure, Comedy, Drama
Jerry Welbach, a reluctant bagman, has been given two ultimatums: The first is from his mob boss to travel to Mexico and retrieve a priceless antique pistol, known as "the Mexican"... or suffer the consequences. The second is from his girlfriend Samantha to end his association with the mob. Jerry figures alive and in trouble with Samantha is better than the more permanent alternative, so he heads south of the border.
Mixed reviews largely converged on one verdict: James Gandolfini, in the unlikely role of a gay hitman, runs away with the movie, while the two stars audiences actually came to see spend most of the film apart and fail to generate the spark their pairing promised. Brad Pitt's subplot drew particular criticism for dragging, leaving a film that works in patches but can't sustain its ambitions over a lengthy runtime.
“The scenes between Roberts and Gandolfini make the film special. ... Their dialogue scenes are the best reason to see the film.”
Cedar Rapids Gazette
“The Mexican is sporadically entertaining. It works when Gandolfini is on screen; when he leaves, he takes the movie with him. ... From here, director Gore Verbinski intercuts between two road movies, one of which (the one with Pitt) is downright boring.”
Titusville Herald
“Roberts and Pitt are generally terrific. In The Mexican they are horrid. ... Gandolfini is a star on the rise. His work in The Mexican is solid. Frankly, he's the only bright spot in this dark and pointless movie.”
Walla Walla Union-Bulletin
“If it had been a Pitt/Roberts two-hander, there wouldn't have been room for Gandolfini's wonderful character, and that would have been a shame.”
Doylestown Intelligencer
Adventure, Comedy, Drama