Synopsis
A pair of twin brothers from East L.A. choose to live their lives differently and end up on opposite sides of the law.
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Cast
- Raúl CastilloDiego / Pedro
- George LopezCaptain Gomez
- Aimee GarciaVanessa
- Marlene ForteSusana
- Marco RodríguezJesus
- Jose Pablo CantilloDetective Martinez
- David CastañedaShotgun
- Sal LopezEl Gallo
- Emilio RiveraShadow
- Logan ArevaloYoung Diego
Recommendations
- 80
Los Angeles Times
Reminiscent of Hollywood cop movies from the ’80s, when masculinity came only in a macho shade, but propelled by the fresh winds of inclusion, El Chicano stands as a solidly acted and technically accomplished spectacle, the latter likely the result of Hernandez Bray’s time delivering stunt magic behind the scenes as a stunt coordinator. - 63
RogerEbert.com
Working alongside veteran screenwriter Joe Carnahan, who’s made his name with this kind of brash, muscular storytelling in films like “Narc” and “The Grey,” Hernandez Bray tries to get his arms around a lot at once. Quite often, he’s successful. - 60
The Hollywood Reporter
The film, marking Ben Hernandez Bray's directorial debut, is mainly a violent police procedural and vigilante drama that succeeds well enough on those terms. It's also notable for its almost entirely Latino cast and deep immersion into East Los Angeles culture. The pic certainly looks authentic, despite the fact that it was largely shot in Calgary. - 60
The New York Times
The director Ben Hernandez Bray began his career in Hollywood as a stuntman, and though too many bones are crunched to describe this film as elegant, Bray directs action with merciless kinetic logic. - 50
Arizona Republic
It’s long on violence and short on storytelling. It aims high, working in the realm of myths, but it does so in hit-or-miss fashion. - 50
Slant Magazine
Throughout, the film peddles notions of self-realization and self-actualization that feel nothing short of moth-eaten. - 42
The A.V. Club
The story never even grazes the sublime; it’s dull and banal, coasting on familiarity from beginning to end. Here, the clichés don’t celebrate a reunion. They’re at war. - 40
Variety
The problem here isn’t the fairly apparent budgetary limits — it’s the limitations of style and imagination.
