Directed By Catherine Hardwicke
Starring – Gina Rodriguez, Anthony Mackie, Ismael Cruz Cordova
The Plot – Gloria (Rodriguez) finds a power she never knew she had when she is drawn into a dangerous world of cross-border crime. Surviving will require all of her cunning, inventiveness, and strength.
Rated PG-13 for sequences of gun violence, sexual and drug content, thematic material, and adult language
– Gina Rodriguez. While the line deliveries of this actress, and overall toughness leaves slightly more to be desired, the dramatic effect of her watery-eyed visuals speaks volumes to the pain inside of her soul. This is perhaps the only element of her transformation that feels believable, as Gloria very much feels like a woman so removed from her element that the look of shock and disdain that constantly fill her facial resonation tell the story of a woman who has already lost so much, yet persists in doing what she can to stay alive. Gina’s best quality, sadly, is when she is quiet, and thankfully the film capitalizes on enough of this to make us the audience feel fragility of her particular situation.
– Immersive musical score by Alex Heffes. This man clearly has his work cut out for him here, but rises to the occasion in scoring these kind of ammunition-riddled sequences with the kind of increase of intensity that elevates further with each repeated-yet-slightly-different stroke of the instrument. Much of Heffes work here reminds me of the great Johann Johansson, specifically in his masterful music design in “Sicario”. The two feel considerably similar because of the overall capture of dread and helplessness that harvest so strongly in the manufactured atmosphere, instilling much fear to the unveiling of worlds that each female protagonist must endure.
– Dual border setting that speaks volumes to the current day landscape. I loved the production decision to compare and contrast the two dramatically different worlds in America and Mexico, and where they each played a pivotal part in the progression of what transpires. This geographical gimmick is used in ways that, while lacking in originality, does cast a dark and conveying shadow to the immensity of dangerous activity that persist between the respective sides. As to where the original “Miss Bala” takes place solely in Mexico, this American remake capitalizes on the importance of polarization for Mexican born citizens who have since taken up citizenship with its northern neighbor, echoing a familiar vibe to the many in our current day landscape who seek a fresh start in a brand new place.
– Logic in arms. I appreciate a film that doesn’t make its lead a sharpshooter after picking up a gun only twice. To this degree, Gloria as a distributor of justice doesn’t ever feel godly or even effective enough to pull you away from the situation because of abnormal accuracy, and there’s much respect to be given about a movie that takes time to document not only the aim of its holder, but also in the lack of confidence she displays in holding the product itself. It all feels believable in a way that other big budget action films easily overlook in favor of a hip protagonist who knows how to stand in front of a film’s movie poster.
– Never slows down. While some will commend a movie for moving rapidly throughout, I can say that the clumsiness in storytelling that constantly rushes through these sequence of events, is anything but pleasurable. For one thing, many subplots never receive further explanation, leaving many character motivations, especially that of Gloria, feeling left out to dry in the bigger, more violent picture. The second act in particular is one that just depicts a series of situations with very little exposition or narration to further elaborate on just what we the audience are seeing in front of us. This gives the film an unintentionally deplorable quality, in that the audience feels very much like Gloria in what little we are being explained along the way.
– The definition of pointless cameo. Anthony Mackie deserved better than this, but I can certainly understand that easy paychecks aren’t easy to come by. Mackie is barely in this film for two scenes, in a sort of blink and you might miss him quality, and casts an unavoidable disappointment in the very little interaction between he and Rodriguez that could’ve done wonders in putting her status as an action hero, or her transformation over. Anthony’s charisma is something that is needed more in this film than anything he’s ever done, and the script’s decision to make him this secondary nothing character proves that literally anyone could’ve accepted the role.
– Constricted editing. Once again we are treated to a film with handheld camera designs and rambunctious editing that paints such ugly and uninspiring depictions of action that never allow us the opportunity to sink our teeth into. The editing always feels like it’s two seconds late, cutting just after a pivotal bullet or character move has taken place, making it difficult to follow the sequence of events. If this isn’t enough, the horrendous looking visual captures only did a further disservice in hooking me in to the drama of the occasion, and only speaks volumes to what is capable when you set a Mexican gang movie with a PG-13 designation. Because this is definitely the kind of film that 13 year old’s are itching to see.
– Lack of character exposition. If the film’s trailer, leading star’s gender, or even the title led you to believe that this was a woman’s movie, you might feel manipulated when you actually see the picture. In fact, there’s so little interaction with Gloria during the first act that everything you’ve learned about her can easily be said in a job application without a past jobs section. How is it that in a movie titled “Miss Bala” that we learn more about the gang leader (Conveniently a good looking model of a man) than we do the woman we are supposed to be following this whole time? It’s absolutely bonkers, and does nothing in furthering your investment into this character or her urgency, which is also vitally lacking.
– Riddled in generic production qualities. Predictably telegraphed? Check, Lack of entertaining element in compelling dialogue? Check, ignorance of political spectrum considering some greatly important issues in foreign treatment of women? Check. All of these things and more give “Miss Bala” an incomplete feeling that will always leave me wondering what would’ve developed if they only took some chances. Being forgettable is easily its greatest sin, as even minutes after leaving the theater I struggle even remembering what took place during the film’s anti-climatic final conflict. It’s a fine example of everything I mentioned here, as the scene plays out without so much as a single moment uncertainty, allowing the screenplay as the only thing to beat us in a foot race to the closing credits.
– Conflicting elements in production. While the cinematography for the film sometimes echoes that of its predecessor, in a sort of B-movie meets music video style artistic merit, the film’s tone and overall material lacks any kind of personality in identifying what kind of movie this rightfully should’ve been. There’s no fun or redeeming quality to a film like this, making the audience it speaks to that much more sparse because it never finds an identity of its own. The people steering this ship crashed into a wall of mediocrity that they couldn’t ever escape, and what’s even worse is that no one will be there to hear the sound it made.
My Grade: 4/10 or D