{"id":2224,"date":"2009-04-01T23:28:05","date_gmt":"2009-04-02T06:28:05","guid":{"rendered":"http:\/\/www.the-frame.com\/blog\/?p=2224"},"modified":"2011-03-15T00:04:12","modified_gmt":"2011-03-15T07:04:12","slug":"review-sin-nombre","status":"publish","type":"post","link":"https:\/\/www.the-frame.com\/blog\/2009\/04\/review-sin-nombre\/","title":{"rendered":"New Release Review: Sin Nombre"},"content":{"rendered":"

\"SinOnce in a while, a first-time director jumps onto the scene with a film that is so assured and so well-made and has such an air of vitality and realism that it’s difficult to believe he hasn’t made a dozen films already. Cary Fukunaga has pretty much done that with Sin Nombre<\/a><\/i>, a favorite at this year’s Sundance Film Festival that’s now in limited theatrical release.<\/p>\n

The story is relatively straight-forward. In one thread, teenage Sayra travels with her uncle and estranged father from Guatemala through Mexico toward the United States, where the father has started a new family in New Jersey, riding illicitly along with hundreds of others on the tops of freight trains. In the other, Caspar, a young member of the Mara Salvatrucha gang, tries to balance his loyalty to the gang with his love for a girl from the right side of town. The threads inevitably come together, and while it’s not difficult to figure out most everything that happens, suspense is not what keeps you interested in the film and the lives of the people it depicts. The delicate balance between emotional care for these individuals and their situations (and the broader context of illegal immigration) and the unsentimental, unwavering style kept me rapt for the entire film, and I wanted to keep the experience with me all day.<\/p>\n

Read the rest at Row Three<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Once in a while, a first-time director jumps onto the scene with a film that is so assured and so well-made and has such an air of vitality and realism that it’s difficult to believe he hasn’t made a dozen films already. Cary Fukunaga has pretty much done that with Sin Nombre, a favorite at […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[2,1016],"tags":[1395,1394],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":24846,"url":"https:\/\/www.the-frame.com\/blog\/2011\/07\/best-films-of-2011-so-far\/","url_meta":{"origin":2224,"position":0},"title":"Best Films of 2011: So Far","author":"Jandy","date":"July 14, 2011","format":false,"excerpt":"The first half of 2011 is now behind us, and you know what that means...half-year lists! So here are my picks for the best films of the first half of 2011. Criteria - it had to be released in the US from January 1 through June 30, which means late\u2026","rel":"","context":"In "Film"","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/07\/banner.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":36915,"url":"https:\/\/www.the-frame.com\/blog\/2023\/01\/adventures-on-criterion-joan-bennett\/","url_meta":{"origin":2224,"position":1},"title":"Adventures on Criterion: Joan Bennett","author":"Jandy","date":"January 28, 2023","format":false,"excerpt":"January's \"star of the month\" on Criterion is Joan Bennett, and I've spent the month catching up with all the films in the collection I hadn't already seen, which was a substantial chunk! I like Bennett, but somehow even though I KNOW it, I always manage to forget that the\u2026","rel":"","context":"In "Adventures on Criterion"","block_context":{"text":"Adventures on Criterion","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/adventures-on-criterion\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2023\/01\/Criterion-Channel-Joan-Bennet.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2023\/01\/Criterion-Channel-Joan-Bennet.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2023\/01\/Criterion-Channel-Joan-Bennet.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2023\/01\/Criterion-Channel-Joan-Bennet.jpg?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":27298,"url":"https:\/\/www.the-frame.com\/blog\/2011\/10\/50dmc-33-favorite-remake\/","url_meta":{"origin":2224,"position":2},"title":"50DMC #33: Favorite Remake","author":"Jandy","date":"October 10, 2011","format":false,"excerpt":"The 50 Day Movie Challenge asks one question every day, to be answered by a few paragraphs and a clip, if possible. Click here for the full list of questions. Today's prompt: What's your favorite remake? I try not to have an immediate negative reaction when I hear about a\u2026","rel":"","context":"In "Film"","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2011\/10\/His-Girl-Friday.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":36948,"url":"https:\/\/www.the-frame.com\/blog\/2023\/03\/adventures-on-criterion-pre-code-paramount\/","url_meta":{"origin":2224,"position":3},"title":"Adventures on Criterion: Pre-Code Paramount","author":"Jandy","date":"March 30, 2023","format":false,"excerpt":"March's featured collections on the Criterion Channel were a treasure trove for me! I was quite interested in almost all of them, but I had to focus on just a couple. First up had to be the Paramount Pre-Codes. I'm generally a pretty big fan of Pre-Code Hollywood, and unsurprisingly\u2026","rel":"","context":"In "Adventures on Criterion"","block_context":{"text":"Adventures on Criterion","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/adventures-on-criterion\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2023\/03\/Screen-Shot-2023-03-30-at-10.31.27-PM.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2023\/03\/Screen-Shot-2023-03-30-at-10.31.27-PM.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.the-frame.com\/blog\/wp-content\/uploads\/2023\/03\/Screen-Shot-2023-03-30-at-10.31.27-PM.png?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":978,"url":"https:\/\/www.the-frame.com\/blog\/2008\/02\/tcms-annual-schedule-of-wealth\/","url_meta":{"origin":2224,"position":4},"title":"TCM’s Annual Schedule of Wealth","author":"Jandy","date":"February 1, 2008","format":false,"excerpt":"Today Turner Classic Movies starts their annual \"31 Days of Oscar\" programming; every movie they play throughout the month of February is an Oscar-winner or nominee. They interpret that broadly, including stuff that was nominated, for, like Best Musical Direction in 1937. But still, the ratio of great film to\u2026","rel":"","context":"In "Film"","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1305,"url":"https:\/\/www.the-frame.com\/blog\/2008\/09\/ebert-on-how-to-read-a-movie\/","url_meta":{"origin":2224,"position":5},"title":"Ebert on How to Read a Movie","author":"Jandy","date":"September 1, 2008","format":false,"excerpt":"I've mentioned to many acquaintances my distaste for Roger Ebert's binary thumb system of film reviewing, and I often tend to have a knee-jerk reaction against his overall film ratings. On the other hand, his criticism (rather than his reviewing) is highly sound, readable, and I wish he'd do more\u2026","rel":"","context":"In "Film"","block_context":{"text":"Film","link":"https:\/\/www.the-frame.com\/blog\/category\/film\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/posts\/2224"}],"collection":[{"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/comments?post=2224"}],"version-history":[{"count":0,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/posts\/2224\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/media?parent=2224"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/categories?post=2224"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-frame.com\/blog\/wp-json\/wp\/v2\/tags?post=2224"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}