Che: Part One
Ernesto 'Che' Guevara transforms from intellectual, asthmatic doctor to one of Latin America's legendary revolutionaries. In 1956, Che and a band of Castro-led Cuban exiles mobilize an army to topple the regime of dictator Fulgencio Batista.
22 August 1975, Petrópolis, Rio de Janeiro, Brazil
24 August 1955, Bridgeton, New Jersey, USA
1 August 1963, Mexico City, Distrito Federal, Mexico
August 16, 2011
The myth somehow deserves better.
January 26, 2011
The director sees Guevara as a pure humanitarian. ... The films are excellent, but understanding this complex historical figure requires more than one source.
February 20, 2009
A potentially great title-role performance by Benicio Del Toro, which won him the best actor award at Cannes, is buried beneath Soderbergh's stylistic tics and a defiant lack of dramatic tension.
February 04, 2010
simultaneously a Hollywood throwback with its lengthy, four-and-a-half-hour roadshow grandiosity and a challenging experiment in genre reformulation
January 23, 2009
As absorbing as it is frustrating.
March 06, 2009
There is precious little in these movies to fill out our understanding of what it was that made Che a rebel, a leader of men, and the repository of the romantic dreams of several generations of armchair revolutionaries
January 23, 2009
Che, the story of a failed revolutionary, also fails as a film.
February 18, 2009
In releasing this reverent, meticulous, fascinating but flaccid history in two lengthy parts, Soderbergh committed perhaps the greatest sin of all. He made Che boring.
March 24, 2011
The quality of the film is more than a testament to Mr Del Toro's acting skills, it is a reminder that Hollywood can make great films without 'selling out'.
January 17, 2010
Che is a ground-level study in perseverance.
October 01, 2009
Soderbergh has made two almost perfect war films, more like the Rings Trilogy than The Green Berets.
June 13, 2010
Soderbergh has no interest in sentimentality, or back story, or even really in Guevara's philosophy, except as a rigorously footnoted onscreen reflection. Practically rejecting outright the concept of poetic license, Che is radical as a biopic.
