El ángel's reviews
Media reviews
Cinemanía
It is impossible not to get infected by the adrenaline of this surprising and untouchable pop gem.
Fotogramas
Sweetie pop movie lesson that avoids the topics of the based on real events, despite being.
Clarin
Lorenzo Ferro's personification, who had never acted or stepped on a theater class, is thus perfect, and malleable. Ferro was, for Ortega, clay [...] in a film that is risky and powerful.
El País
Ortega prints the story an enigmatic and powerful tone, an unhealthy atmosphere, which does not allow me to disinterested until the end of the everyday life of this singular and dangerous type.
El Periódico
[Ortega] never prosecutes the character, but shows it and, with that, with that objective containment, also shows the Argentine society of those years.
Fotogramas
The misé-en-scene, that makes one think of Tarantino, Scorsese or even Almodóvar, without taking a shred of its own character to a film dominated by the overwhelming personality of the main character (Lorenzo Ferro in his great debut), turns the movie into a great party that some bored reviewers may reproach his lack of morality, even calling it frivolous.
Variety
Ortega shows more interest in the how than the why. He mines the scenes of violence for black comedy, rendering the bloodletting anticlimactic and the victims largely irrelevant, and Ferro?s baby-faced, bright eyed disingenuity suits that agenda perfectly.
Screen Daily
In the manner of a Scorsese or a Sorrentino, Ortega creates baroque, propulsive storytelling set to a brassy soundtrack. The film is a production designer?s dream assignment as it veers between the shabby (dingy clubs, seedy hotels, peeling wallpaper) and the enticingly chic (wealthy apartments filled with thick maroon carpets, valuable trinkets, bold patterned wallpapers and lush fabrics).
The Hollywood Reporter
While Angel brings little new to the lexicon of serial killer biopics, it hits the target as an effortlessly palatable aesthetic experience, more shiny period pageant than probing character study.
El Mundo
The discovery of the young Lorenzo Ferro, of picturesque photogenic, that fills his interpretation with subtle nuances.
ABC
The movie acquires a tone that isn't black but based on brute sarcasm, and it even creates laughter in some episodes of infinite brusqueness.
Vanity Fair
It's a super-stylish film, directed by 37-year-old Argentinian television director Luis Ortega, and so energized by its captivating lead actor that you forget you are watching the story of Carlos Robledo Puch, a real-life murderer and rapist who committed most of his crimes when he was just in his teens. The movie is compelling in the moment but seems irresponsible with any afterthought.
Festival Internacional de Cine de Lanzarote