Have we got a pair of slumdog millionaires for you! In Rudo y Cursi, Y tu mamá también co-stars Diego Luna and Gael Garcia Bernal reunite as two hardscrabble soccer fans whisked from the drudgery of small-town banana picking for a shot at the big time. Directed by Alfonso Cuarón’s kid brother Carlos Cuarón, the movie shares many of the charms of that earlier collaboration (Carlos co-wrote Y tu mamá, as well as Alfonso’s Sólo con tu pareja) but suggests a very different dynamic between the two characters.

This time, Luna and Bernal play half-brothers, named Beto and Tato, mutually loyal to their common mother and, to a lesser degree, one another. When they aren’t toiling away in the fields, they spend most of their time on the soccer field. Beto plays goalie, aggressive enough in his manner that his teammates call him “Rudo” (or “rough”), while Tato is such a show-offy forward, his fancy tricks earn him the nickname “Cursi” (“prissy,” in English) — monikers that confuse the fact that each is simultaneously macho and sensitive.

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Should special effects only be used to service a film’s story, or is it perfectly fine for movies to feature extraneous spectacle? That’s a debate that comes up often among cineastes, but ultimately there’s room for both functions. Sometimes, in cases like Jurassic Park and The Matrix, both categories of effects may even faultlessly coexist in the same film. Yet there is one kind of effects employment that’s intolerable to all film-loving parties: the gratuitous exploitation for the sole purpose of brazen gimmickry. It’s this kind of effects work that goes beyond spectacle. It’s not so much a show as a show off.

For one example of this cinematic sin check out Karina’s review of The Curious Case of Benjamin Button, in which she references a scene featuring an inessential and irrelevant rocket launch in the background of an otherwise intimate moment between two lovers on a sailboat. Actually, that’s apparently only a minor citation in a “a film about the feat of its own whiz-bang, Frankensteinian digital imagery, drunk on its own accomplishment to an extent that feels quasi-ethical.” Hardly the first movie to commit such a crime, sure, but Benjamin Button seems to be the most thoroughly guilty exploiter since Forrest Gump (both films, incidentally, were scripted by Eric Roth).

So, in (dis)honor of Roth’s repeat offense, let’s take a short look at the worst exploitations of special effects in the last 15 years:
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• Are you ready for Children of Men: The TV Series? John Brownlee isn’t! Alfonso Cuaron’s film is “genre-defying masterpiece, exactly as long as it needs to be, every shot and line perfect,” he writes at Sci-Fi Scanner. “So obviously it requires weekly extrapolation to dilute the effect.”
• “It dawned on me as I was getting started that there is an important piece of information that many of you younger Pajibans may not be aware of. It saddens me to think this might be the case, and thus this review is given another purpose: to perhaps educate y’all. Because you see, here’s the thing: Eddie Murphy used to be funny.” Dustin Rowles watches 48 Hours with a hangover.
• Tee hee. Critic of Creationism/science blogger PZ Myers was banned from a screening of Ben Stein’s anti-Darwin propaganda film Expelled, but was told his guests could attend. One of Myers’ guests? Richard Dawkins, author of The God Delusion, whose arguments the film basically exists to refute. Via Boing Boing.
• Andrew Bujalski has moved to Austin. He doesn’t know when his next movie will be finished.

At The Circuit, John Hopewell and Emilio Mayorga offer a number of signs that “the mantle of greatness is rapidly slipping over” Silent Light director Carlos Reygadas. I’m surely not going to argue with that, but I do think it’s interesting that Mayorga and Hopewell make it a point to set Reygadas apart from other hot young Mexican directors, such as Alfonso Cuaron and Alejandro González Iñárritu, who crossed over to Hollywood success:

Reygadas has a niche in a pantheon - not new Mexican cinema; given the accessibility of and interest in film-making worldwide, the very concept of new national cinemas may be arcane - but new, left-field world cinema, up there with other unorthodoz film-makers such as, say, Thailand’s Apichatpong Weerasethakul.

Read: he’s making art films for die hards, and that’s never gonna translate to the masses.

I don’t know. I don’t want to be an elitist. I feel like I’m a woman of the people, or whatever. But I like it that Silent Light requires work to enjoy. It’s hard for me to reconcile the sad truth that popular culture as a whole feels more comfortable with Crash with subtitles.

So it turns out that Alfonso Cuaron, director of Children of Men, is kind of resenting the sudden attention and praise being lavished on Mexican films (his as well as Guillermo Del Toro’s Pan’s Labyrinth and Alejandro Gonzalez Inarritus’ Babel). In a post Cuaron wrote this week, he said this:

…What I resent, however, is the notion that the Oscars are somehow bestowing legitimacy on Mexican cinema. We don’t need this legitimacy.

I can get my head around that kind of resentment. I can also understand why Cuaron doesn’t want to define or represent “Mexican cinema.” As he points out in his post, the three films getting all the attention are set in a variety of places other than Mexico–from London to Spain to California and Morocco. I think he just wants to be known as a great filmmaker–one who isn’t put in a box.

But at the same time, attention and praise are still attention and praise, even if they’re long overdue or not in the most appealing package. The amount of interest being stirred up around Mexican directors and films right now is to be expected, considering the box office numbers and Oscar nominations (16 between the three titles) these three films have generated. According to indieWIRE’s BOT, Pan’s Labyrinth surpassed Like Water for Chocolate as the highest grossing Spanish language film in the US ($21.7 million as of yesterday). All kinds of people watching a subtitled movie in multiplex theaters. I love it (even if it is a ridiculous thing to love).

It’s true. American audiences blinded by Hollywood blockbusters can be a bit clueless. They might even need to be hit over the head before they sit up and take notice. But personally, I’m just glad they’re taking notice. I’m glad more films from more places are being seen by more people.

Spout’s CEO, Rick DeVos, and Paul chat about David Denby’s article, “Big Pictures,” on the state of the movie industry for 2007 (or at least January). Also discussed, Alfonso Cuaron’s Children of Men, is it more omen than sci-fi? And words inspired by Guillermo Del Toro’s new film, Pan’s Labyrinth.