Monte Criollo: A cabaret, a knife, and way too much pride

Is it worth your time?

If you're into old-school cabaret vibes and melodrama that feels like it’s being held together by pure grit, Monte Criollo is a decent watch. You’ll probably like it if you appreciate 1930s noir aesthetics and characters who make bad decisions with a straight face. If you need pacing that moves faster than a slow walk, or if you hate watching guys ruin their own lives over a woman they barely know, you’re going to be bored out of your mind.

The whole thing feels like it’s dripping in smoke. You can almost smell the cheap booze and the desperation in that cabaret. Lucy walks in, and the whole energy shifts—it’s that classic femme fatale stuff, but there’s something a little more tired about her than the usual Hollywood types.

The gambling room dynamic

The scenes where they’re setting up the illegal gambling hall feel weirdly small and cramped. It’s like they didn't have enough room to breathe. Maybe that was intentional? It makes the tension between Argüello and Carlos feel claustrophobic.

Argüello is a piece of work. You watch him get more and more unhinged, and it’s honestly just sad. He’s so wrapped up in his own head that he can’t see he’s losing everything, not just the money. When he cheats in that game, it’s not even a clever moment. It’s just desperate. Kind of reminds me of the pacing in

The ending is the real kicker. Argüello takes a knife to the chest and decides to die without pointing the finger at the guy who did it. Some people might call that noble. I call it a weird way to try and win a game of poker from the grave.

It’s not a masterpiece, but it’s got a personality. It’s definitely not as slick as