1992

Vromen and Penn would have been better off writing a straightforward father-son heist flick without trying (and failing) to pull off this high-concept maneuver.

Vromen may have meant to create a politically-tinged period piece about one of the most combustible moments in American history, but the only element of Nineties Americana he really resurrects is the mediocre amoral crime flick.

The look is drab, the action is barely coherent, and Liotta deserved to go out with a better line than “I did the best that I could, son. I’m sorry it wasn’t enough.”

There are shootouts, a car chase, some heroics and some hard life lessons—but this film isn’t breaking new ground on either the action or socio-political front.

A direct and to-the-point screenplay from Sascha Penn and Vromen, and genuine scenes between Gibson and Ammanuem, aid in making “1992” a genre exercise with much more on its mind than you might suspect.

A deft combination of excitement and thoughtfulness, an excellent and unexpected film.

By the midway point, having done nothing to really enlighten audiences about what this moment in 1992 represents beyond seeing outrage in the streets, we are instead transported over to the heist plot for the sake of seeing how that shakes out.

There’s an identity crisis at the heart of Ariel Vromen’s “1992.” One part of the film deals with serious issues of racism and family dysfunction. The other is an almost comically overheated robbery melodrama. The combination makes for a clumsy brew.

“1992” has something to explore when it comes to the L.A. Riots and family bonds, but Vromen and Penn refuse the challenge to expand on the few engaging ideas they have.

1992 offers drama on a human level... [Full review in Spanish]