Amores Perros - Von Hunden und Menschen

I consider the first story to be an example of perfect filmmaking craftsmanship and Inarritu, to me, was a genius while watching it, someone to whom I would confidently entrust any subject because his visual ideas or the alternation of contrasts are absolutely flawless. My enthusiasm faded after the remaining two stories, which are not bad, just not as disturbing or captivating for the viewer's senses as the first one, and rather focus on the gradual psychological development of the characters. Unfortunately, most of the time it is a bit too gradual and almost tedious. (04.08.2006)

A debut that, despite having a few errors, as a whole is an excellent affair and mainly shows great promise for the future. If it weren’t for certain inconsistencies in the characters’ fates and no rising tension in the story, there isn’t much to criticize. In acting terms perfect, the screenplay marvelous and the director brilliant. Slightly disappointing that Iñárritu gives you the strongest moments right at the very beginning of the picture, but it doesn’t reduce the huge quality of Amores Perros overall. (17.01.2007)

A nasty, dirty, violent and depressive film, just as I like them. The plot is not as complex as the director’s second film (21 Grams), but it’s a lot more effective nonetheless. Amores Perros consists of three intertwined stories, each with a completely different atmosphere, which together deliver a holistic and very intense emotional load. Very recommended. (27.02.2009)

Just like Denmark has Lars Von Trier and Sweden has Lasse Hallström, Mexican cinema also has its number one: Alejandro Gonzalez Iñárritu. He has maintained his directorial style even in Hollywood, and that was the key to his success. But here it bothered me with an excessive running time. The technical execution, on the other hand, it's a blast again. (07.01.2005)

Iñárritu has directing down to a science again, interweaving a trio of intricate stories with such dexterity as if he's been doing nothing but running with a camera through the urban jungle since birth. I can only point out to two big weaknesses in this outing, namely that he plays too much for effect in some places, giving up his captivating authenticity as a result, and then things get quite boring at the end and, due to the exorbitant runtime, there’s nothing that would break the viewer out of their lethargy. I liked the first two stories and generally enjoyed how beautifully everything was working out for Alejandro, but on the other hand I was very disappointed that the most interesting passage about the hitman went completely to waste, as did the attempt at emotional softening at the end. It's a very good film no doubt, probably worth the 150 minutes, but nothing groundbreaking or outright unusual. At least it showed what an untouchable ruler Pulp Fiction is in this circle of films. 75% (25.06.2013)