Greenes
Please don't spend money on this.
Doomtomylo
a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.
Clarissa Mora
The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.
Joe Bob Jones
There are few gay, or straight, films which fling such disturbed and desperate lead characters into the sparkly gutter like Mala Noche. That summary is trite at best, but to watch this movie is to fall into a film noir which won't give you any love back. Excellent and gobsmackingly short-ish cash register rings of warning. Don't embrace these sickly, nasty characters, but do get enveloped. You can't help it. Everyone sucks, everyone is dirty, nasty, and sadly dreamy. Gus made a gorgeous pile of human stink with this one, and it is completely addictive. Fabulous film. Gus Van Sant may have jumped the shark with some later stuff, but this, boy, this is good. Fans of grit say: Must see.
bandw
I watched this movie since I have liked van Sant's more mainstream movies such as "Good Will Hunting," and "Milk," but also some of his more experimental works like "Gerry," and "Paranoid Park." But this film left me cold; watching it could lead to your own Mala Noche.We are taken to the back-streets of Portland, Oregon to follow the life of Walt Curtis who mans a liquor store. Ultimately it seems that every sort of low life shows up in Walt's store. Early on a couple of Mexican immigrants, Johnny and Roberto, show up and Walt becomes sexually obsessed with the attractive Johnny. But Johnny doesn't really want to reciprocate and most of the movie is spent with Walt dreaming of scoring with Johnny. When Johnny disappears, Roberto is willing to fill in in a pinch. The major sex scene between Roberto and Walt *is* filmed with some delicacy, if you like that sort of thing.The low budget is quite in evidence in the harsh lighting and the shadowy backgrounds. Maybe this is art, but it simply resulted in eyestrain for me.So the film does say something about illegal immigration and how there are great pockets of sadness, poverty, and loneliness in the United States, but I already knew that and was not enlightened by spending an hour and a half seeing it illustrated. In fact this movie left me quite depressed.The script for the movie is based on a story by Walt Curtis. I could only make it about half way through the film about the real life Curtis that is included on the DVD. As this Alan Ginsberg wannabe ranted on I became more and more disgusted with him, and with the film. Final opinion: ugh.
adamshl
During the twenty three years between "Mala Noche" and "Milk," Gus Van Sant made two other films that were quite above average; namely,"My Own Private Idaho" and "Good Will Hunting." His early effort, "Mala Noche," seems to play like a prequel to "Idaho," or at least an exercise piece, preparing for the main event. Both are set in Portland in the seedier side of town and both deal with assorted transients and street hustlers. "Idaho," however, has a rough Shakespearian basis, giving it more structural depth, while "Noche" drifts from one episode to the next without strong dramatic motivation.Still, "Noche" is rich in black and white imagery, mood, and atmosphere. It's more of an artwork than other Van Sant films, and maintains its artistry throughout (still, the running time seemed to me much longer than 78 minutes).The cast is serviceable without being outstanding, and the production design is thoughtful. The DVD release of the film offers a lengthy interview by the director, which provides interesting information for admirers of Van Sant.
Gothick
In the summary, the word "fools" should more accurately be another English word with four letters, but I doubt whether the regulations for this site will permit that. That is the subtitle for this movie and it does tell one side of the story. Another side involves the randomness of life in Portland, a city that's more like an overgrown small town with a big seamy underbelly and lots of folks eking out an existence on the margins. This movie shows with subtly limned images and snatches of wry, realistic dialogue just how vast and differentiated the landscape of "the margins" is in this town. And maybe, too, in that weird district of the Twilight Zone known as America.Twilight is a state of mind that provides the true setting for this story that seems to be a fragment of a greater whole, but nevertheless has its own peculiar beauty. The black and white photography is stunning and seductive, and perfect for the film noir desperation (occasionally melodramatic but never posturing) with which these characters seem to run their lives. The director uses chiaroscuro, the play of light and shadow over the faces and bodies of his players, to hint at people's emotions or to suggest the cluelessness with which they get through the day. Despite the sense of general confusion, there are poignant and powerful emotions that surface here, thanks to the skillfully nuanced photography and the expressiveness of the actors.The casting is perfect, but among the actors only Tim Streeter really seems to give a coherently thought-through performance. Streeter, to judge from his performance here, is an actor of brilliance and considerable sensitivity--it's sad that his only other credit is a 1987 appearance on 21 Jump Street. A lot of the shots in the movie are composed with great inventiveness, but the visual beauty that results never feels arty or contrived, mainly because of the gritty realities that encompass the characters' lives and passions.Certain scenes in this movie made me think of images that surface in the songs of indie bard Elliott Smith, whose music was used in Gus van Sant's much glitzier mainstream movie, Good Will Hunting. Images of lonely people smoking late nights away over cheap beers in loud bars, waiting for their sense of woundedness to dull sufficiently so that they can go back out on the street and face some semblance of life again. The use of music is yet another element that gives Mala Noche a distinctive flavor--the music credits cover several screens at the end of the movie--as one would expect with a director who is also a composer and musician in his own right.Poetic, frail, fragmentary and haunting, this is one of those movies where, even if you never quite get the story, certain images from it will nevertheless linger a long time in your memory after you have seen it.
