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This film is so real. It treats its characters with so much care and sensitivity.

Blistering performances.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Tato (Gael Garcia) is a striker and Beto (Diego Luna) is the goalkeeper of a small Mexican town football club. They're half-brothers working at a banana plantation. Their extended family scratches out a living until a soccer scout spots their play. There is one spot on a premier club and the brothers decide to choose by penalty kick. The brothers eventually get on rival teams gaining success and troubles.For me, this is another piece of evidence that comedy doesn't always translate. It's only the broadest of slapstick that is universal in terms of comedy. Language and cultural differences make it almost country-specific. I see the parts where the movie is trying to be funny. The homoerotic hazing is very broad. However, it doesn't actually get me to laugh.

Gael García Bernal and Diego Luna struck fireworks with their 2001 'Y tu mamá también' directed be their close associate Carlos Cuarón. Now once again the three men, along with important input from some of the finest talent in Mexico, join in a low key, warmly humorous, well acted and directed and produced RUDO y CURSI. There has been considerable publicity about the movement to raise the importance of Mexican films to the high standards of International films, largely due to the passion of García Bernal, Luna, Cuarón, Alejandro González Iñárritu and Guillermo del Toro. The success of this movement is obvious in this very fine film - a tightly conceived story about the poor families in Mexico who long for the ability to climb the ladder to success in business, fame and comfort, and the Cinderella story recasting brothers played by García Bernal and Luna whose struggle for opportunity leads them into the bumpy relationship with a 'talent scout' (Batuta played with aplomb by the Argentinean actor Guillermo Francella) and to tenuous triumph because of their soccer talent and the inevitable temptations of success in the great Mexico City world. García Bernal is Tato (to be nicknamed 'Cursi' by his teammates), a wannabe singer whose goal is to make it big in the world of entertainment, using Batuta as his means to get there. Luna is his brother Beto (to be nicknamed 'Rudo' - the alternate title of the film is 'ROUGH AND VULGAR' instead of 'RUDO y CURSI'!) who is married but longs to follow his brother into the fame of the Big League soccer. Each lad lands in Mexico City, each takes advantage of his given soccer talent and each succumbs to personal goals - Rudo to gambling and Cursi to women and singing in silly music videos. Batuto is always on the sidelines (and in the voice over narration) to follow each of brother's successes and failures. The manner in which the two brothers compete and come together creates a moving and tender story ending. What makes this little film so special is the genuine qualities and ensemble acting that come from García Bernal and Luna but also form the actors portraying the impoverished but proud family of the two boys and the 'big town characters' they encounter in Mexico City. The film feels real and committed, mixing just the right amount of humor, fantasy, and tenderness - thanks to the excellent script by writer/director Carlos Cuarón. It is a pleasure to watch and a very fine statement about the quality of films coming from Mexico. Grady Harp

Carlos Cuaron both wrote the screenplay & directed this rather standard story of 2 brothers who besides caring (when not fighting) for each other , their families & most of all football. We here in the USA call it Soccer.They live & love life the way they love football. with complete intensity & devotion.There are the usual stumbling blocks in there way, but they play right through them.What makes this comic-drama stand out from the rest are its stars.GAEL GARCIA-BERNAL & DIEGO LUNAIn real life both stars are friends from childhood & both have given first rate performances in other films.They co-starred in 'Y Tu Mama Tambien' a few years back. They were superb in that & are the magnificent here.All the performances are great, the entire production first rate, Gael even sings in this & is fine.The movie is first rate entertainment, the football scenes are exciting. Story may be old fashioned but all else is fresh & new.Ratings: ***1/2 (out of 4) 93 points (out of 100) IMDb 9 (out of 10)

Against the backdrop of a professional women's baseball league, Penny Marshall's "A League of their Own" is best remembered for its sibling rivalry between wartime sisters Dottie(Geena Davis) and Kip Keller(Lori Petty), who goes head-to-head in the big game, a prerequisite of the inspirational sports film that completes the genre's form. Disparate from John G. Avildsen's "Rocky", and other movies of its ilk, in which nobody would have mourned Apollo Creed(Carl Weathers) had he lost, Marshall's film is unique because you're divided, happy as you are for Kip, the moviegoer also sympathizes with the loser(well, that's what the film is calibrated for), Dollie, who drops the ball after Kit blows off the third base coach's signal to stop, and proceeds to run roughshod over her sister in a violent homeplate collision. After all, Dollie was responsible for Kip's career. Similarly, in "Rudo y Cursi", it's the loser you feel for, Tato(Gael Garcia Bernal), whose penalty kick is blocked by his brother Beto(Diego Luna), who unlike Kip, loses too, while seemingly the victor, because he was supposed to throw the game. In both films, albeit circumstantially different, there are no winners where a winner is the genre norm. "Rudo y Cursi" is a sports film without catharsis, which puts this Mexican import in the same league as Antonio Cuaron's recent "Sugar", another underdog sports story that ends on a decidedly different key from its Hollywood counterparts.Neither Davis nor Petty(or Madonna for that matter) had a lick of baseball talent, but through the magic of rhetorical editing(quick cuts), wishful thinking prevailed, and the audience became co-conspirators in the fiction that Davis could swing for the fences with regularity, while Petty took the mound with an arsenal of effective pitches. In "Rudo y Cursi", when Batua the scout(played by Gullimero Francella) gauges the brothers' potential in a pick-up soccer game, he's the only witness, because the camera stays on him, having a cold one. This directorial choice is made time and time again, a self-reflexive and humorous aside about actors faking athletic greatness, as the moviegoer never actually sees Tato score a goal, nor Beto successfully defend the net; the moviegoer sees reaction shots, instead of first-hand accounts of athletic mimicry. There's no need for a double to do the tricky stuff(e.g. Moira Kelly and D.B. Sweeney's doubles in "The Cutting Edge"); there's nobody to double for. The montage, the most expedient way to persuade the audience that the actor is excelling at his/her sport(best recent example: Hillary Swank in Clint Eastwood's "Million Dollar Baby"), gets parodied in a scene where the soccer ball in quick succession, hits the back of the net from the off-screen leg of Tato, kicking in the negative space. When the benchwarmer finally sees some game action and scores his first goal, the moviegoer sees his family, in unison, shouting, "Goal!" instead of Bernal putting his best foot forward, literally, in a diegetically enhanced fantasy camp for actors. Not satisfied with only its atypical approach towards depicting sports in a sports movie, "Rudo y Cursi" is no etnography(like Gregory Nava's "El Norte", or "Mi Familia"), in which a western audience expects Tato and Beto to act in an explicitly prescribed way.More likely than not, the filmic norm of "wetbacks" in most narratives about the Hispanic culture, shows its people as the conscientious sort who send money back home to their destitute families they left behind. Arguably, in "Rudo y Cursi", the brothers go "gringo", as Tato lavishes his high maintenance girlfriend with exorbitantly priced gifts(for starters, a SUV), while Beto gambles his money away at back-room casinos. Where's mama's SUV; where's mama's house, the one that her sons promised to build for her? Mama does eventually get the house of her dreams, but not from her American-like sons. Like Ridley Scott's "American Gangster", mama gets her house from a gangster, her daughter's husband. Tato and Beto are people like us: Americans, "football" players who have American football player counterparts.(Tato could be Tony Romo, a player distracted by her excessively attractive celebrity girlfriend, while Beto could retired quarterback Art Schlichter, who had a severe gambling problem while throwing passes for the Baltimore Colts in the early-eighties.)