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Great Film overall

Excellent, Without a doubt!!

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The acting is good, and the firecracker script has some excellent ideas.

boy i was over pleased with this(maybe because i did not have high expectations since never seen an add for it? ) reading the reviews of how low the budget was and especially 20 days of shooting sound unreal to me for such a top notch cast and especially directorial credits.i absolutely love the political undertones such as "oh boy i did not that the united states are not as pro-syndicates as much as i thought", and that coming from a character that is a Cuban political refugee.you will have to see the context in which this happens, i almost fall of the chair laughing on this one. unlike many action movies this days( or even worse comedy actions)this one has a CLEAR focus without many inner-thoughts and supposable "choices" normal people theoretically have. the movie shows the wonders of "direct action" in a very intelligent, non-violent way.everyone has doubts about getting onto the heist but once the target is reviled as a multimillionaire Argentinian "shark" representing the pro-globalization salesman movement, everyone is willing to take the calculated risk involved.all the team members put effort and especially passion in see the things done right. the bad guy slowly reveals himself as being a pure evil character that indeed feeds on and gets more wealthy from the suffering of others, especially his own Latin group. this guy shows a level of narcissism typical to Latin telenovelas but with tragic social-economic implications in the movie context. the puns taken at Tom Hanks, Julia Roberts and other media made "stars" are very hilarious and witty)))) also this scene show a naivety based on perceptions that are familiar to telenovelas viewers regardless of which country/culture one would be part of.the character called "primitivo" makes such hilarious scenes sometimes by name alone, and mot just in a "simplistic" approach))), the references to Castro are darn hilarious; the movie does not seem to pick a side even if its intentions are to show insights onto globalization as we feel it, not necessary seeing the whole "details"; and there are many attempts at portrayng those, generally within a very funny framework that not even the "big guy" would resist cracking a few loughs at least)))i have never seen any of this actors before and i was surprised of how great their chemistry is without "over the top" vibes.the two hit planners have the physical and spiritual appeal of classic revenge movie genre.the female characters are absolutely delightfully and provides excellent Latin type of comic relief that goes both ways.enjoy!

Ladrón que roba a ladrón or Bandoleros is a stupid movie which apparently is made in U.S. in Spanish language. Looking at the rating of 6.9 from IMDb, I figured it must be a good movie and I bought the DVD. The rating in IMDb is usually accurate and this is the first time I find it disappointing. I will probably end up giving this movie away since I don't think I will ever watch it again. This movie is a repeat of other successful or (fairly successful) movies made in the past. However, with bad directing, acting, boring plots, etc.. While movies such as Ocean's 11, 12, etc. are available, don't waist your time on this unless you are content with a mediocre movie.

I don't believe that I need to recap the plot of this movie since other commentators have done so quite clearly. However I would like to expand on three aspects of the film: the casting, comparable movies, and the technical credits.I'm an Anglo and came across the movie by accident on Amazon.com. As such I was totally unfamiliar with the cast of this movie, most of whom appear to have extensive credits in Hispanic television series. When an actor delivers a good performance you can credit the actor. When all the actors fit their roles you have to credit the casting. Saul Lisazo, as the putative villain Moctesuma Valdez, was impressive. Both of the gang leaders, Miquel Varoni as Emilio Lopez and Fernando Colunga as Alejandro Toledo, were in character. While the latter was billed first, I assume he's better known for his television work, I would say the former was more of a standout in this film. Ruben Garfias was expressive as car jockey Rafa and Ivonne Montero was very dynamic as his motor-head daughter Rafaela. Gabriel Soto brought some charm to the usually thankless role of caper muscle man. Julie Gonzalo was attractive in the role of the nanny Gloria but Sonya Smith had little to do as Mrs. Valdez (apparently she was more actively involved in a sub-plot which was cut from the movies to reduce run time). Oscar Torres as Miguelito, a would be actor, and Jon Molerio as a security guard provide standout comedy relief. Only the computer "nerd" role of Julio Miranda was surprisingly under written given that it was played by JoJo Henrickson, the author of the screen play. It is relatively seldom that all major roles in a film are well cast. It is a high compliment when I say it makes me want to go out and look at the other work of these performers.Commentators have compared this film to Ocean's Eleven (1960/2001) or the The Sting (1973) in terms of where it was derived from and the style of the caper. I don't know who made the first caper film, with people coming together to stage a heist, but I know it definitively precedes Ocean's Eleven (1960). Without even pausing I can think of Jules Dassin's Rafifi (1955), Stanley Kubrick's The Killing (1956) or John Huston's The Asphalt Jungle (1950). In terms of style I think we must remember that this film was apparently made on a budget of US$900,000 over twenty days. Its simply not going to have the high-technology caper of a big budget Ocean's Eleven (2001). The complexity of the caper is more like that of 1960's television series Mission Impossible or Man From U.N.C.L.E. However the director and writer of this film wisely choose to concentrate on character and social commentary rather than complexity of the caper. This fits better within both the budget and the concept of invisible immigrants staging a caper. Part of the emotional satisfaction with the ending is the social commentary embedded within it.Technical credits are normally taken for granted but deserve comment in this case. The camera work is particularly impressive, with use of continuous takes as the camera moves amongst the participants in the scene. This style binds the characters together and creates both realism and a sense of activity. I was also impressed with some of the framing of the shots, with the main characters bookending the background events. I don't think I've ever commented on subtitles in a movie. Inevitably one senses that the subtitles you are reading are a poor reflection of what's said in the original language. In this case the English subtitles, I presume by the screen writer JoJo Henrickson, are fluid and fully convey the emotions on the screen. The catchy soundtrack also adds to the professionalism of the credits.

I loved this movie! The focus of this heist movie was on the characters' resourcefulness and cleverness, not on special effects. The clever dialogue, plot twists and the wonderful humor reminded me of the great classic "The Sting." I much preferred this film to the big-budget Ocean 11-13 series, which is too self-important, and I found the characters far more charming and easy to root for. While I am not Latina, I am very familiar with the works of the three stars, Varoni, Colunga and Lisazo, and they were the reason I went to see this film. They did not disappoint me. The entire ensemble is great and very believable, although Oscar Torre and Miguel Varoni steal a few scenes. Fernando Colunga always stands out b/c he's so darn HOT! He's also very good here. On the other hand, my friend's heart palpitated every time S. Lisazo and G. Toro came on screen. Ivonne Montero is very funny in a role very different than many of her telenovela ones. All around, definitely worth seeing!