RogerEbert.com

Best debut feature I’ve seen in the last year, best Mexican film in recent memory, and best (black and white) cinematography since Pawel Pawlikowski’s equally stunning but very different “Ida.”

Salon by Andrew O'Hehir

It’s a gorgeous sound-and-vision journey through a mystical or mythical space that has echoes of the 1960s Paris of Godard and Truffaut and the 1980s New York of Jim Jarmusch.

RogerEbert.com by Godfrey Cheshire

Best debut feature I’ve seen in the last year, best Mexican film in recent memory, and best (black and white) cinematography since Pawel Pawlikowski’s equally stunning but very different “Ida.”

The Playlist

Gueros is as close as we’ll get to a parody of art house films while being a proud member of them.

The Playlist by Oktay Ege Kozak

Gueros is as close as we’ll get to a parody of art house films while being a proud member of them.

Boston Globe by Peter Keough

Güeros is brutal, ironic, madcap, and grim. Shot by Damian Garcia in black-and-white with the pristine spontaneity of Godard’s cinematographer Raoul Coutard, it is “Bande à part” (1964) meets “Los Olvidados” (1950).

Village Voice by Alan Scherstuhl

What makes Güeros fascinating, besides the joyous invention of Ruizpalacios's craft, is how the director emphasizes rather than hides his own authorial engagement.

The New York Times by A.O. Scott

The story pops and swerves; the images are by turns comical, banal and ravishing; and the result is a briskly shaken cocktail made of equal parts provocation and comfort. You come away with a buzz that is invigorating and pleasantly familiar.

The A.V. Club

Even if Güeros doesn’t entirely work, it feels worthy: a film made independently and without interference whose reverence for the past thankfully doesn’t result in too much solemnity or seriousness.

Slant Magazine by Elise Nakhnikian

A good story, full of life and related with intelligence and a sense of humor.

The A.V. Club by Adam Nayman

Even if Güeros doesn’t entirely work, it feels worthy: a film made independently and without interference whose reverence for the past thankfully doesn’t result in too much solemnity or seriousness.

The Dissolve by Noel Murray

Güeros is a vivid illustration of factionalism’s brute outcome, which has people choosing up sides and tossing bombs at people, while dismissing their victims’ complicated lives and problems.

Variety by Peter Debruge

The personalities here feel genuine, as if a group of friends had banded together to make a movie just a few degrees removed from their real lives — a la “Clerks” or “Swingers,” though not nearly as conceptual, plot-wise.

The Hollywood Reporter by Boyd van Hoeij

This bouncy and effervescent film often has the kind of timeless charms that can also be found in the early New Wave films, even if the screenplay, set against the backdrop of the massive 1999 student protests in Mexico City, unsuccessfully tries to smuggle in a slightly more serious and topical undercurrent via the backdoor.

New York Post by Farran Smith Nehme

Agreeable this film certainly is, but the shagginess never seems to take shape.