Nacho Libre

Nacho Libre

Nacho Libre is loosely based on the story of Fray Tormenta ("Friar Storm"), aka Rev. Sergio Gutierrez Benitez, a real-life Mexican Catholic priest who had a 23-year career as a masked luchador. He competed in order to support the orphanage he directed. The producers are Jack Black, David Klawans, Julia Pistor, and Mike White.

Berated all his life by those around him, a monk follows his dream and dons a mask to moonlight as a Luchador. . You can read more in Google, Youtube, Wiki

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Nacho Libre torrent reviews

Ivonne C (ca) wrote: muy buena e impactante esta historia, muestra una cara muy diferente de barcelona

Carolyn G (fr) wrote: Unfortunately, the movie version of a truly bizarre story from Madison, WI made for boring viewing. It failed to capture the purported twists and turns and Thora Birch failed to give us any insight into what made this girl tick other than money. Disappointing.

Erika T (au) wrote: pretty interesting and intense movie at times. deserves 4 stars just because of the ending.. it makes you go like ..huh..

Cameron J (ag) wrote: Its a dry period drama about class relations in England, so, uh, do you think that it's a Merchant Ivory film? I think you can figure that out just by seeing that this film is an adaptation of a novel by E. M. Forster, not necessarily because Merchant Ivory adapts a lot of Forster's books, but because this film is already so British that its story was authored by a novelist who goes by his first two initials, so it may as well be from Merchant Ivory. Ironically, this was the first film set outside of America that Merchant Ivory had done in a while, but they made such a booming comeback to British filmmaking stereotypes that they went ahead and put Anthony Hopkins of the payroll. They went way back into formula with this film, so I need to remind myself that the Merchant Ivory film with Hopkins after this is "The Remains of the Day", not "The Remains of 'Howards End'". Shoot, this film is already two-and-a-half hours of high-class British people problems so there better not be another two hours and fifteen minutes of this story to tell. Yeah, you can also tell that this is a Merchant Ivory film because it's way too blasted long, but hey, I'll take it, because cinema this British can be a little more entertaining than one might expect. Well, this film is certainly more compelling than I feared, although entertainment value does face its share of challenges. Yeah, the film doesn't do too much to pump up its dramatic plot, as I'll touch more upon momentarily, yet what conflicts there are have a tendency to adopts histrionics, many of which are indeed realistic in this portrait on a melodramatic setting, while many others are hard to embrace in the context of this affair, feeling a touch contrived, partly because they feel derivative. With all of my joking about how British this film is, this really is more of the same for Merchant Ivory and British melodramas which fall into the tastes of Merchant Ivory, being narratively formulaic, and even overtly celebratory of formalities. This is a very formal melodrama, and no matter how much juice thrives in a lot of the storytelling and acting, brows finding themselves stuck at a height beget characterizations of class roles which run together, and are thin in humanly gritty depths to begin with, not unlike the characters' conflicts. I've criticized this melodrama for manufacturing certain conflicts, but the big issue here is a shortage on a sense of conflict, which is compensated for by strong storytelling that is still rarely able to fully overshadow a lack of consequence, no matter how hard it tries to bloat the plot. This story concept probably shouldn't be as layered as the film itself, thus, a lot of the layers, or at least their shifts, feeling like inorganic supplements to the excess which drive the final product to its runtime of almost two-and-a-half hours on the back of repetitious meanderings which give you plenty of time to soak in the inconsequentiality of the film. At the same time, the length gives the film plenty of time to flesh out its strengths, of which there are many, perhaps enough to make a truly strong melodrama, despite the natural shortcomings which threaten resonance, yet are ultimately too stressed by overt histrionics and uneven excesses for the final product to fulfill its full potential. With that said, the film does a lot right, and does so consistently in a drama whose degree of engagement value is not consistent, but firm enough through and through to secure your investment, particularly in the aesthetic integrity of the film. No matter how tasteful, most scores are merely attempts at pseudo-realized classicalism which go restrained by their being manufactured to compliment narratives, but Richard Robbins nails the formula, for although his efforts are formulaic and underused, their true classical integrity is aesthetically stellar, and realized enough in the context of storytelling to compliment both atmospheric resonance and the selling of the era portrayed in this period melodrama. More direct of a compliment to the immersion value of this period piece is, of course, John Ralph's outstanding art direction, which restores the high-class communities of England during the turn into the 20th century with great extensiveness and just as great handsomeness, made all the more captivating by tasteful and hauntingly subtle cinematography by Tony Pierce-Roberts. The film is genuinely beautiful, at least aesthetically speaking, boasting musical and visual style that is realized enough to be engrossing, yet still subtle enough to pay compliment to the telling of a story of considerable intrigue which extends beyond aesthetics. This story is nothing new, and if it's not overblown in both melodramatics and structural layering altogether, it's formal to the point of being subdued in its conflicts and what have you, but make no bones about it, it's thoroughly intriguing in its generally convincing and tasteful portrait on struggles within and relations between British people of class and human flaw, if not on the distinctions between nature and human nature. The narrative is promising in its dramatic and intellectual value, and Ruth Prawer Jhabvala helps in doing it justice through an overblown, but razor-sharp and audaciously extensive script, while James Ivory keeps engagement value sustained more than one might expect, through tight scene structuring during the filler, punctuated by well-placed thoughtfulness that, especially when backed by Robbins' tasteful score work, transcend dramatic shortcomings to be rather touching. At the very least, Ivory makes this intimate, yet still somewhat subdued character so endearing by working well with a strong cast of talents, all of whom deliver on charisma, if not solid dramatic kick, with Helena Bonham Carter and leading lady Emma Thompson being especially nuanced in their engrossing performances which further secure the immersion value of this drama. This film is so overdrawn and subdued, yet it somehow manages to be surprisingly, not simply rarely dull, but consistently compelling, with enough great aesthetic integrity and worthy dramatic intrigue to reward anyone willing to embrace this piece for what it is. Once the end is actually reached, overt melodramatics stand among many tropes, which also include an overt formality which subdues characterization and a sense of high conflict, no matter how much the narrative is bloated to the point of unevenness and repetitious excessiveness, thus, the final product is held back, but surprisingly not that much, for outstanding score work, art direction and cinematography, and an intriguing story concept which goes brought to life by intelligent writing, tasteful direction and strong acting prove to be enough to secure "Howards End" as a very rewarding British melodrama. 3/5 - Good

Trisha R (fr) wrote: I had never heard of this movie until I saw the DVD in a sale bin at Zellers for $3.99. To be honest, I only bought Slow Burn because the testosterone levels were blazing off the DVD cover with all the muscle-bound hotties in this flick- case in point: LL Cool J, Mekhi Phifer, Ray Liotta and Tay Diggs! Yum! To my surprise, it actually turn out to be a very good mystery/thriller that kept me guessing until the very end. Men and women alike will enjoy this one.

Golia K (ru) wrote: A prelude to Blue and A Requiem for a beautiful death