She's his sister-in-law, but that doesn't stem his ardor for her, and, because he treats her with a degree of kindness that her brutish husband, Ramiro (Marco Pérez), never shows, she can't help but be attracted to him.

The first two we meet are Octavio (Gael García Bernal) and Susana (Vanessa Bauche). Iñárritu's are brutal and lacking even a modicum of charisma. Tarantino's anti-heroes are cool and suave, with always the right one-liner to offer. There are hit men, murderers, philanderers, thieves, betrayers, and other assorted riff-raff. The others comprise a web of corruption and deceit.

Of the seven or eight significant characters traversing Iñárritu's terrain, only one could be considered sympathetic. So, although the territory may be familiar to viewers of Pulp Fiction, the vantage point is radically different.Īmores Perros introduces us to a veritable Rogues Gallery of individuals. They are exposed for what they are - human beings whose moral compasses have become twisted. In Amores Perros, criminals are not romanticized. This was done through clever dialogue and stylish filmmaking techniques. However, one of Pulp Fiction's trademarks was to glamorize the gangster - to make the traditional 'bad guy' seem hip and interesting. The plot unravels episodically and in a non-linear fashion, with characters from one segment occasionally appearing in, or passing through, another. Amores Perros, like Quentin Tarantino's Oscar-nominated opus, deals with men and women who live on the seedy side of life. There are undeniable similarities, although most of them are at the surface level.

Without a doubt, the majority of the reviews of Amores Perros, the acclaimed debut feature from Mexican filmmaker Alejandro González Iñárritu, will, at one time or another, invoke Pulp Fiction.

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