100 años de perdón : Little thieves, big thieves | |
---|---|
Directed by | Alejandro Saderman |
Written by | Carlos González Henry Herrera |
Produced by | Ezequiel Burguillos Maye Larotonda |
Starring |
|
Cinematography | Hernán Toro |
Edited by | Giuliano Ferrioli |
Music by | Julio d'Escriván |
Distributed by | Alejandro Saderman Producciones |
Release dates | |
Running time | 100 minutes |
Country | Venezuela |
Language | Spanish |
Little Thieves, Big Thieves ( Spanish: 100 años de perdón) is a 1998 Venezuelan gangster comedy film directed by Alejandro Saderman. The film premiered at the 1998 Toronto International Film Festival [1] and went on to screen at the 1999 Sundance Film Festival. [2]
On Christmas Eve amidst a nationwide financial scandal, adman Horacio hatches a plan to rob the Pan-American Bank with his old childhood buddies Valmore, Rogelio, and Vicente, who are all in dire straits money-wise.
The men pose as officials and arrive at the bank just after the new year, only to discover the bank’s president has already transferred the bail-out money to offshore accounts, and that suspect accountant Pujol has gotten there ahead of them.
The gang mistakes a visiting commercial shoot for TV news cameras, prompting the police to surround the building and leading to a standoff.
Eddie Cockrell of Variety wrote, "Well-written, often humorous pic knows it strolls close to American action genres and runs with that, riffing on themes from ' Ocean's Eleven,' ' Die Hard,' ' Mad City' and others. There’s even specific mention of ' Dog Day Afternoon,' including an updated spin on one of that film’s key subplots. Ancillary characters are well drawn, and each has a chance for a moment in the spotlight when the standoff takes on a party atmosphere (“The best kidnapping of my life,” claims one)." [3]
Comparatively, Ted Shen of the Chicago Reader wrote, "Saderman alternates hapless burglar comedy ( The Lavender Hill Mob) with tense hostage drama (Dog Day Afternoon) but fails to find the right balance: after a while the bumbling exploits of his Robin Hoods and the cute send-ups of media feeding frenzy dull the film’s social criticism." [4]
100 años de perdón : Little thieves, big thieves | |
---|---|
Directed by | Alejandro Saderman |
Written by | Carlos González Henry Herrera |
Produced by | Ezequiel Burguillos Maye Larotonda |
Starring |
|
Cinematography | Hernán Toro |
Edited by | Giuliano Ferrioli |
Music by | Julio d'Escriván |
Distributed by | Alejandro Saderman Producciones |
Release dates | |
Running time | 100 minutes |
Country | Venezuela |
Language | Spanish |
Little Thieves, Big Thieves ( Spanish: 100 años de perdón) is a 1998 Venezuelan gangster comedy film directed by Alejandro Saderman. The film premiered at the 1998 Toronto International Film Festival [1] and went on to screen at the 1999 Sundance Film Festival. [2]
On Christmas Eve amidst a nationwide financial scandal, adman Horacio hatches a plan to rob the Pan-American Bank with his old childhood buddies Valmore, Rogelio, and Vicente, who are all in dire straits money-wise.
The men pose as officials and arrive at the bank just after the new year, only to discover the bank’s president has already transferred the bail-out money to offshore accounts, and that suspect accountant Pujol has gotten there ahead of them.
The gang mistakes a visiting commercial shoot for TV news cameras, prompting the police to surround the building and leading to a standoff.
Eddie Cockrell of Variety wrote, "Well-written, often humorous pic knows it strolls close to American action genres and runs with that, riffing on themes from ' Ocean's Eleven,' ' Die Hard,' ' Mad City' and others. There’s even specific mention of ' Dog Day Afternoon,' including an updated spin on one of that film’s key subplots. Ancillary characters are well drawn, and each has a chance for a moment in the spotlight when the standoff takes on a party atmosphere (“The best kidnapping of my life,” claims one)." [3]
Comparatively, Ted Shen of the Chicago Reader wrote, "Saderman alternates hapless burglar comedy ( The Lavender Hill Mob) with tense hostage drama (Dog Day Afternoon) but fails to find the right balance: after a while the bumbling exploits of his Robin Hoods and the cute send-ups of media feeding frenzy dull the film’s social criticism." [4]