![]() ![]() Just as monochromatic as the walls of Casa Hogar, Gonzales’ Omar is cornered into one-dimensional simplicity. In a handful of shots, cinematographer Santiago Benet Mari harnesses this intensely homogenous palette with nuanced lighting. The choice of making blue so prominent to our eye turns conspicuous within the first few minutes. These cleverly edited dreamlike sequence offer reprise from the more standard execution elsewhere. Furthermore, when we enter Omar’s recurrent drowning nightmare the blue saturation becomes more accentuated. Nearly all items that comprise the production design and the actors’ costumes feature shades of this color. Quintana’s most decisive directorial commitment is to the blue hues that pave every corner of the movie. With the two adults and the four selected young men-including Anthony Gonzalez (Miguel’s voice in “ Coco”) as Geco and Miguel Angel Garcia as Moco (the reluctant loner of the pack)-the beats move deeper into trite, sentimental territory without much personality. ![]() Himself in a financially precarious position, Wade accepts to take Omar and some of his boys as crew in order for the organizer to waive his entry fee. Funds are low and the bank is ready to collect, so Omar or “Papá Omar,” as the children and teens call him, must come up with a plan to save their shelter.Įnter Dennis Quaid as gruff and arrogant Wade, a gringo who has won the Bisbee fishing tournament twice. Similar in tone and content to other recent, inspirational sagas about Latino teens such as “McFarland, USA” and “ Spare Parts,” Quintana’s second feature takes a true story as its basis and then applies expected tropes in the “coach mentors an underwhelming team to greatness” subgenre, from the washed-up male adult who needs the kids to overcome his own troubling past to the platitude-ridden lessons meant to help the youths mature.įormer street child and, presumably also a drug dealer once, Omar ( Jimmy Gonzales) runs Casa Hogar, an orphanage for local boys in Cabo San Lucas, Mexico.
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