The Argentinean actor Ricardo Darin (The Secret in Their Eyes) has an almost Bogart-like gift for playing world-weary rotters with a core of nobility.
Owen Gleiberman - Entertainment Weekly
At heart an unlovely love story illuminated by sudden flares of violence, the film reeks of hopelessness and moral destitution, offering its lovers few means of escape.
Jeannette Catsoulis - New York Times
This is a film that's musical with the cracking of bones and crashing of cars.
Wesley Morris - Boston Globe
[Trapero's] stylistic showmanship eventually pays off in a bravura single-take climax, his camera navigating physical and emotional spaces with the fatalistic urgency and despair of film noir.
Nick Schager - Village Voice
Hard to watch, though fascinating for its performances, and the bottomless corruption it portrays.
Joe Morgenstern - Wall Street Journal
"Carancho" was Argentina's nominee for the foreign-language Oscar. It didn't make the short list, but life isn't always fair.
V.A. Musetto - New York Post
You can see the influence of 1950s film noir, the ballsy renegades of 1970s American cinema (especially early Martin Scorsese) and a little touch of the Coen brothers.
Andrew O'Hehir - Salon.com
Trapero is a force, as both a director and a producer, in Argentina's exploding though financially strapped film industry.
The film's plotting is at times ragged and muffled, though this might be intentional, a way of suggesting the endless ramifications of the endemic corruption. The performances, however, have depth and resonance.
Philip French - Observer [UK]
- Empire Magazine
What starts as a slow-burning series of minor dramas slips into a high-octane gear in the final act.
Grant Rollings - Sun Online
Some movies are described as explosive: this is positively eardrum-perforating.
The statistic that 8,000 Argentinians die in traffic accidents every year gives his film a context, but Trapero didn't need to work quite so hard to prove it.
Tim Robey - Daily Telegraph
The film's bitterness of vision may owe as much to style as to content: this is not King Lear, it does not go deep. But a vision of sorts it is, harsh and haunting.
Nigel Andrews - Financial Times
Bruising, moving and utterly compelling.
Matt Bochenski - Little White Lies
An absorbing if flawed thriller set in Buenos Aires...
Henry Fitzherbert - Daily Express
Trevor Johnston - Time Out
It's relatively effective as a thriller, but rarely welcomes the viewer into its world of legalities and despair.
David Parkinson - Empire Magazine
[A] grimly satisfying noir...
Scenes spark then fade, until the sinuous climax arrives with collision force.
Jonathan Crocker - Total Film
The desolate Edward Hopper nightscapes provide an effective context...
Geoff Andrew - Time Out
...this is not just about a stormy romance. It also deals with personal integrity, or lack there of, corruption within the Argentine insurance industry and the violence that it spawns.
Robin Clifford - Reeling Reviews
Trapero's soggy, misguided, derivative melodrama was, somehow, Argentina's Official Selection as Best Foreign Language Film for the Academy Awards.
Gerald Peary - Boston Phoenix
... tips into melodrama with characters so desperate they are driven to extremes, but that's noir territory. It's an entertaining, albeit disturbing, ride with a helluva final destination.
Laura Clifford - Reeling Reviews
Carancho begins to accelerate with alarming speed - and doesn't stop until the startling, bitterly ironic final frame.
Rene Rodriguez - Miami Herald
A no-frills version of a perennial dark story: how love of a sort can take root in a festering place.
Walter V. Addiego - San Francisco Chronicle
A stark, compelling crime drama, shot in lurid close-ups and leading inexorably toward a devastating end.
Moira MacDonald - Seattle Times
Transforms a sordid little story of two losers into something more interesting and complicated.
Kelly Vance - East Bay Express
In spite of a commendably nasty noir mentality a la The Postman Always Rings Twice, Carancho is flat-out underwhelming.
Simon Abrams - Slant Magazine
Without resorting to sensationalism, gratuitous gore, false spirituality, or any extraneous artificiality, Trapero has fashioned an emotionally involving picture.
John P. McCarthy - Boxoffice Magazine
Trapero's Carancho is a thrill to watch but not for the faint of heart.
Ron Wilkinson - Monsters and Critics
A depressing and senselessly violent film noir from Argentina.
Frederic and Mary Ann Brussat - Spirituality and Practice
This Buenos Aires is a city of collisions, something we are told early on but absorb with indelible force as Carancho races toward its final impact.
Michelle Orange - Movieline
The movie's recommendation has to come with a grain of salt, but most of Carancho is still intelligent and thrilling enough that it's work ignoring the end.
Sean Gandert - Paste Magazine
Even when tackling more mainstream fare, Trapero does it with integrity...
Sam Adams - AV Club
would prove forgettable if not for the oddly tender turns that Trapero yields from Darin and Gusman
Chris Cabin - Filmcritic.com
Gripping film noir from Argentina's most visionary film director.
Louis Proyect - rec.arts.movies.reviews
The cheap suits, the under-lit cinematography, and hand-held camera can't compensate the viewer for the loss of off-the-cuff realism.
Kent Turner - Film-Forward.com
Talented young director Pablo Trapero is undermined by a weak screenplay for this story of organized crime in Argentina.
Maria Garcia - Film Journal International
There is a full-throttle, head-long feel to Trapero's film that sends it careering along.
Amber Wilkinson - Eye for Film
Edgy and abrupt, jumping from scene to scene breathlessly without resorting to thriller tropes, while creating a sense of impending danger.
Marshall Fine - Hollywood & Fine
A violent, gripping thriller from Argentina.
Harvey S. Karten - Compuserve
Director Pablo Trapero employs a gritty handheld documentary style in keeping with his sobering subject matter. This approach is at times disconcerting, but then it should be.
Annlee Ellingson - Moving Pictures Magazine
Un thriller urbano oscuro, denso, pesimista, con grandes brillos formales (sobre todo en fotografia, sonido y montaje) y un retrato hiperrealista de ambientes y personajes que encierra una historia de amor.
Enrique Buchichio - Uruguay Total
- NOW Toronto