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Museo

Mexico, 1985. Juan and Wilson, two perennial Veterinary students, perpetrate an audacious heist in the National Museum of Anthropology, running away with a loot of more than hundred invaluable pieces of Mayan art, unaware of the consequences of their outrageous act.
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WHAT ARE CRITICS SAYING?

80

The New York Times by A.O. Scott

In spite of a meandering story and some fuzzy passages, there is a touch of magic in Museo, a sense of wonder and curiosity that imparts palpable excitement.
91

The Playlist by Bradley Warren

It’s an endlessly entertaining, challenging investigation of history that confirms Ruizpalacios’ status as the next big thing in Mexican cinema.
80

Film Journal International by Eric Monder

Ruizpalacios doesn’t waste the movie beating up on Juan’s foolishness. He’s painting a broader picture of ennui, lost suburban souls who seem to want nothing more than to tool around in their car and talk nonsense.
88

RogerEbert.com by Godfrey Cheshire

The new film combines the filmmaker’s distinctive stylistic verve and droll wit with the talents and charisma of Mexico’s leading international movie star, Gael Garcia Bernal.
100

Variety by Jessica Kiang

Ruizpalacios spins an irresistibly inventive and unusually intelligent tall tale from this kernel of truth. All the mischief, however, is precisely counterbalanced by a deep affection for his funny, flawed (largely fictional) characters and shot through with a surprisingly biting assessment of the compromised nature of the museum trade.
100

Wall Street Journal by John Anderson

Museo is in part a caper film, a heist film, and while it leans on such classics as “Topkapi” and “Rififi” the robbery has its own signature and is done in a visual style that’s hypnotic.
90

Screen International by Jonathan Romney

In terms of execution and panache, Museum has the mark of a true original – at least, of a film-maker discovering his own voice through fearlessly trying whatever works, sometimes tipping his hat to tradition, sometimes following his own path with brio.
80

The Guardian by Peter Bradshaw

Museum is an oddly genial, garrulous film in many ways – rather like Güeros – and it doesn’t behave quite like a heist thriller, nor exactly like a coming-of-age comedy.
75

The Film Stage by Rory O'Connor

The heist sequence alone is a confident mix of visual inventiveness and nods. What the film does lack, intentionally or not, is a clear moral arrow.

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