Adios Vaya Con Dios

"Are you ready!" The young gangster Bones, played by Emmanuel Isaac, who lives and dies Olmec gang banger philosophies, yells to his Santa Muerte face painted crew before he puts the hit on Eloy Rosales, played by Albertho Garcia. It's a retribution killing after Eloy stomped to death Tiger De'Leon, played by European actor Marius Iliescu, the merciless sexual predator.

All the actors in the film have their moments and have memorable one-liners, courtesy of lead actor and screenplay writer Zachary Laoutides who plays Rory King a half Mexican and white Olmec gang member trying to navigate his way out of a life of criminality. Laoutides invests all his larger then life characters inside an urban odyssey, they are individual social adventures getting us closer to Rory's goal of leaving town, but in actuality they push him further from his goal.

The subtle performances that seem to analyze and survive every situation they're in belong to Laoutides and Garcia, best friends for life and a bond that forces Rory to treat Eloy with special gloves resulting in them becoming deep into misfortune with the Olmec Jefe's, aka the bosses. From the opening of the movie the scene unseals intensity from Rory and Eloy and the ending closes the film with the same nerve-wracking sentiment from these two fine performances.

I don't think we can demand a more creative script and film from the ingredients we see recycled in Hollywood every year. Writer and actor Zachary Laoutides teams up with Executive Producer Monica Esmeralda Leon using her tough neighborhood not only to setup the locations for the movie, but also integrating all walks of life from inside the neighborhoods metamorphosis-iring them into actors and actresses. It's not only the reality of using the human materials from the streets, but the studio Ave Fenix Pictures borrowing real stories that have become legend to the locals while using an art house film approach.

At times the film recalls a European Spaniard sense of cinema, having a stable Spanish narrator giving extra facts and storyline as the movie travels forward. The cinema looks aged, dark, raw and at times grainy moving us into the next episodic quest Rory must attend to. The movie is scored by European ambient psychedelic rock by United Kingdom musicians Liam Williams and Joel Goldbreg. Mexican pop start Gaston Sanchez joins in with alternative beats that give us classic Sylvester Stallone montages.

Adios Vaya Con Dios Bel-Air Film Festivals Official Selection racking up several nominations is a work of art, is a work of the tragedy and beauty of where one grows up. Too bad Adios Vaya Con Dios didn't embark on the art house film festivals circuit, as I believe they would have quadrupled awards and nominations constructing a nonpareil film not observed before.

With an over-saturation of Independent films, and 'no' I'm not including the low budget B- Movies that pop out for genre fair, do yourself a favor and check out Adios Vaya Con Dios. Don't be deceived by the premise that reflects a gangster movie. The film couldn't have been put together more creatively and the experimentation of bringing the genuine community into the movie pays off.

Highly original, that is the title of this review because it is and someone needs to be the advocate of the art house film approach to a gangster genre film. The movie that comes to observance on the same parity would be the Brazilian film City of God. That film in particular had twenty times the budget (being a throw back 70's piece), but like Adios Vaya Con Dios there was an artistic methodology. In Adios Vaya Con Dios the film is less action and more talk, more the analysis of social issues that plague the Chicago Latino communities. It's a smart film and 'no' they don't insult my intelligence, nor will they yours.

I'll be straightforward, with the few independent films I will watch in 2016, I want to be hard, I want to be critical, I want to smack sense into filmmakers once and a while. The poster of the movie invited me; I wanted to 'throw down' some film tips to Adios Vaya Con Dios and shame on me. This film humbled me, watching the behind the scenes further made me appreciate the bravery of all the participants.

Mean and ugly neighborhoods can create the most beautiful and imaginary minds. The coming together of executive producer Monica Esmeralda Leon and writer/actor Zachary Laoutides collaborated a perfect artistry in the streets. I hope people pay attention.

If you think you're getting guns and action you're completely in for a surprise. I didn't expect a film carved out with such an artistic hint. Actor and writer Zachary Laoutides does something very different then just your classic gangster film. Adios Vaya Con Dios may have not reached it's full potential due to limitations, but creatively Zachary Laoutides with his talented art designer, Alfredo Kaos Leon who created the skeletorian makeup add depth into the lackluster films that Hollywood has been creating that trust in formulations.

There is something different at work here, one in the stylishness of how the film is shot by Timothy J. Aguado, the rock music, the transitions from scenes introducing us with montage setups, as Olmec gang leader Tiger De'Leon puts it, "This isn't your hood," and I'm glad it's not the typical Hollywood hood instead we are getting something intellectual and imaginative.

It may disappoint some, who are awaiting gang warfare to erupt on the tough Chicago streets, but Zachary Laoutides stays authentic and truthful to the storytelling and budget he had.

A gangster art house film. There I said it, never thought I would, never thought I would see a Chicago movie about gangs play out as an artistic piece; reminiscent at times of Alejandro González Iñárritu's early work Amores Perros. This is a much more organic attempt at mixing real people and real places into a cinematic story. At moments I could tell the local actors who were picked up and placed into the movie from the theater actors (at times over projecting) to the film actors who performed in refinement.

Adios Vaya Con Dios is a mix of different intensities, but it works just as good as it will get knowing how movie was filmed. Zachary Laoutides' unconventional script gives us something completely distinctive then what we would expect a stereotypical Latino gangster movie to include. It's even difficult for me to call it 'gangster' or 'Latino' for that matter. It's something unalike on the artistic side of the tracks and because of that I enjoyed it. Art wins in the streets.

Maybe it's the euro rock music that was selected featuring artists from the UK and Mexico that transformed the tempo of the film or maybe it's the realism of every time Zachary Laoutides is on camera and we see his internal pain, a rather silent performance, but he doesn't need to say much. I'm interested in following the La Raza film movement, so it's been coined; to see what this group of artists create next as it's something fresh and stimulating, not falling into the cliché of movie-making.