Metacritic reviews

Ruizpalacios spins an irresistibly inventive and unusually intelligent tall tale from this kernel of truth. All the mischief, however, is precisely counterbalanced by a deep affection for his funny, flawed (largely fictional) characters and shot through with a surprisingly biting assessment of the compromised nature of the museum trade.

Museo is in part a caper film, a heist film, and while it leans on such classics as “Topkapi” and “Rififi” the robbery has its own signature and is done in a visual style that’s hypnotic.

It’s an endlessly entertaining, challenging investigation of history that confirms Ruizpalacios’ status as the next big thing in Mexican cinema.

In terms of execution and panache, Museum has the mark of a true original – at least, of a film-maker discovering his own voice through fearlessly trying whatever works, sometimes tipping his hat to tradition, sometimes following his own path with brio.

The new film combines the filmmaker’s distinctive stylistic verve and droll wit with the talents and charisma of Mexico’s leading international movie star, Gael Garcia Bernal.

Museum is an oddly genial, garrulous film in many ways – rather like Güeros – and it doesn’t behave quite like a heist thriller, nor exactly like a coming-of-age comedy.

The story is narrated, off and on, by tag-along Wilson, but Garcia Bernal is in full control of the film.

In spite of a meandering story and some fuzzy passages, there is a touch of magic in Museo, a sense of wonder and curiosity that imparts palpable excitement.

Ruizpalacios doesn’t waste the movie beating up on Juan’s foolishness. He’s painting a broader picture of ennui, lost suburban souls who seem to want nothing more than to tool around in their car and talk nonsense.

The heist sequence alone is a confident mix of visual inventiveness and nods. What the film does lack, intentionally or not, is a clear moral arrow.