As Luck Would Have It (2011)

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

My Summary phrase came to mind after watching this 2011 Álex de la Iglesia masterwork. It was, as a string of pearls, a string of scenes, so perfect, so smooth in their sequencing, that, with the help of an impeccable photography and admirable soundtrack we got spell bounded from the beginning of this splendid movie to its brilliant ending, a pathetic story almost unbearable to watch.Unbearable to watch thanks to the forceful interpretation of our protagonist couple, Luisa (Salma Hayek) and Roberto (José Mota) who, all of a sudden, find out how tough and painful life can become in a matter of seconds.Roberto's desperation to find a job, after months of fruitless interviews is the Gordian knot that plunges him (and us) into what will become a major film. The script construction is peerless, as is the interpretation of every actor involved in the complicated choreography, very difficult to film, of this gem of a movie, all encompassed by the hand of this genius, Alex de la Iglesia.Only at the end of the projection we get the subliminal message given at the start of the movie, behind the cast names and credits, with takes that seem to be only background texture..., and they tell you the whole story. Our string of pearls has a gorgeous diamond clasp. It loops the string with a superb finale, showing us how deep is Luisa's love for her husband Roberto. It couldn't have had a better ending.

Mmmm , What can I say I'm huge fan of Alex de la Iglesia and love in some way almost every film he has made , some more than others of course but at this moment , I was expecting something amazing ; more even after seeing his last film beautifully crafted and visually stunning with an over the top ending but that's something I have learn to accept and even like on his films , I'm talking about The Last Circus (la balada Triste de la Trompeta) after that one , As Luck Would Have It comes as a big disappointment sadly.The direction is nice nothing you haven't seem before ,the acting is good, but not great, hence to the story line and the script and opposite to the Goyas (something like the Oscars in Spain) I think Salma Hayek in that role seems awkward and out of place.In general an entertaining flick but very beneath the genius of Alex de la Iglesia.

Álex de la Iglesia's "As Luck Would Have It" features, in supporting roles, Salma Hayek and Carolina Bang, two of the most ravishing and talented Spanish-language actresses to ever grace the screen. Most viewers are well aware of Ms. Hayek, who has aged gracefully into Hollywood's demeaning mother-ghetto for actresses over the age of 35. Few know of Ms. Bang, who was the centerpiece of de la Iglesia's last film, the criminally-insane "The Last Circus." Both command the screen with old school Hollywood glamour and mature sexuality, and yet neither manages to obscure the machinations of de la Iglesia's sharp media satire. This, as Queen once sang long ago, is a kind of magic.Jose Mota is Roberto, a one-time ad exec who hasn't had success in many moons. Unbeknownst to his supportive wife, the couple are in dire financial straits, Roberto long living off the reputation gained from an old Coca Cola slogan. Reduced to begging and groveling at his former bosses' knees, Roberto soon realizes he has no job prospects. The cosmic joke of the film, unspoken, seems to be that Roberto seemingly bottomed out without a natural talent for advertising, and whatever reputation he has garnered was a fluke. The irony, of course, is that these callous suits lack what the enterprising Roberto brings to the table, courtesy of his Coke tagline: "the spark of life."Despondent, Roberto flees to the location of his honeymoon with his wife, where one absent- minded misstep lands him on his back, seriously injured but conscious. Lying on his back, Roberto maintains his motor skills, but he cannot move. He is impaled, a sharp nail sticking out from the ground, embedded in his head. Cops descend, but none dare to pry him loose, until medics provide a diagnosis: they could remove Roberto from the nail, but if he is pried loose in the wrong direction, he will die. The story of Roberto's misfortunate circulates, now attached to the circumstances. Soon, a media circus erupts over his captive state, reports circulating that his career had been failing and that he may have attempted suicide. The location de la Iglesia picks is not unintentional: all parties involved realize he's fallen on somewhat sacred ground, a landmark of sorts where Roberto's freedom could involve desecrating ancient ground. From Roberto's perspective, as we see various onlookers and media outlets observe, the area he occupies is shaped very much like ancient Coliseum bleachers. He has become the star of his own show, the story of his death, Ancient Rome-style. Wife Luisa (Hayek) eventually descends, though she is soon swarmed by the vultures of the press (among them Ms. Bang). As Roberto moves in and out of lucidity, they fight over exclusive access both to an interview with him or her. The ghoulish lengths they'll go to procure official footage and soundbites overwhelms Luisa: one reporter openly muses on a much higher cost for an interview if he were to die.De la Iglesia's setup hearkens back to "Ace In The Hole" but with a much more humanist bent: with his life on the line, Roberto immediately starts thinking dollar signs, knowing the cynicism of the media can be exploited to finally give he and his wife the life that will please her. But Luisa is the film's heart, and this attitude pierces her, as she fights against the reporters' obvious interest in Roberto's possible death. De la Iglesia, in the middle of what some may consider a career-long roll, continues his commitment to stark, realistic humanity in heightened, blackly comic situations. The absurdity of Roberto's predicament, while handled with good humor, is played with an entirely straight face -- his argument as to whether Brad Pitt or George Clooney in a movie adaptation is as much a product of his pop culture cynicism as it is about his hopeful recontextualization of this unlucky scenario. There may be no boogeyman in sight, but de la Iglesia uses Hitchcockian music cues and camera angles to emphasize the morbidity of Roberto constantly being moments away from death, with surrounding onlookers subtly rooting for his demise. Mordantly funny and sharp as a razor, "As Luck Would Have It" is one of the treasures of the Tribeca Film Festival.

If some demented soul decided to remake the old Kirk Douglas classic "Ace in the Hole" as a modern comedy, this would be it. unfortunately it is neither funny nor tragic. You'd be much better off watching the classic film, even if it seems a little dated. Probably the best part of As Luck Would Have It, originally entitled "La Chinga de la Vida", is the set, which is a Roman ruin. The actors generally do a credible job considering how weak the story is and how unfunny the humor. Everyone ends up playing a caricature or a stereotype, with the son of the leading couple falling more deeply into this trap than anyone can imagine. If you need a comedy about the flight of being an unemployed family man during a recession, you can always fall back on the Full Monty.