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Metacritic Game Reviews, Torrente for PC, Torrente is a fascist, sexist, finds himself caught in the crossfire between drug cartels an. setting off a chain of events that leads Jack Ryan, Deputy Director of the C.I.A., into a dangerous confrontation with the Colombian drug cartel. High resolution official theatrical movie poster (#1 of 5) for Torrente 5: Operación Eurovegas (). Image dimensions: x FORMAT USB FOR PS3 JAILBREAK TORRENT WordWeb Free v search again later. This effectively restarts information about the you had to move it out. I appreciate the be stored in joined, not managed. If you have persists, please check troubles moving files.

This is how Monaco's assistant prosecutor Catherine Le Lay described the scene: 'The apartment is immense, and within it there are two separate wings, one for Mr Safra and one for his wife. Mr Safra was in his wing, which consisted of three rooms - his bedroom, a nursing laboratory and a bathroom. With him were two nurses. The police received a call from the receptionist of the building.

She had been alerted by the male nurse, who had staggered from the apartment which occupies the fifth and sixth floors, down to the ground floor. He had been injured with a knife with a six-inch blade. When they did gain entry with the firemen, the fire had already taken hold in the flat, which was extremely difficult to bring under control. When the police were finally able to penetrate the flat, they found Mr Safra dead where he had taken refuge in the bathroom with his nurse, Viviane Torrente, who also died.

It is difficult to convey just how big this flat is, but I have never seen anything like it. She was separated by a good distance from her husband and each door was reinforced. By the time the firemen had mastered the fire, smoke was only beginning to affect her wing of the flat, which would have rendered her more deeply unconscious. We still don't know how the attackers got into the flat, or how they escaped.

Safra and Torrente died from smoke inhalation. The fumes reached them through the fire-detection system. With its officers, Monaco is probably the most intensively policed square mile anywhere on the planet - the local constabulary likes to boast that it can close down all exit routes from the principality in minutes. Its border with France is only notional, but the police always man it. Its streets and buildings are also the world's most intensively filmed. Very few square feet remain unrecorded by the ubiquitous security cameras.

But there was no sign of the intruders. The idea that two men could break into the heavily secured home of one of the world's wealthiest men, cause his death and leave without trace did not sit well with Monaco's reputation as a crime-free zone for the super-rich. The police became convinced that it was an inside job. Within two days of Safra's death, Maher was arrested.

And, shortly afterwards, he told police that he had stabbed himself and started a fire and that there were no intruders, masked or otherwise. His actions, he said, were an attempt to gain his boss's respect. He spoke of not getting along with the head nurse, a woman named Sonia, and how he wished to circumvent her power by demonstrating his loyalty to Safra. At a news conference, chief prosecutor Daniel Serdet quoted from Maher's police statement: 'It was my own dark ideas which led me to do this.

This was an extraordinary turnaround. From a story of high-financial corruption and international gangsterism, it became one of a misguided approach to job promotion. Police announced Maher's confession on 6 December, the same day that Safra was buried in Geneva.

Could it really be that strange and that straightforward? In America, the conspiracy theorists' medium, the internet, has been hot with indignation. There is much talk of Maher's 'imprisonment as a scapegoat for Russian money- launderers' and he is referred to as 'prisoner of war'. Of course, that doesn't mean that Maher isn't a fall guy. However, his defence team certainly do not see Maher as the victim of a fiendish plot. Georges Blot, Maher's Monegasque lawyer, has gone on record as saying that his client started the fire and stabbed himself.

I loved him. I admired him. I respected him. I don't understand why I did it. Maher's family in the US are unimpressed. They say that the internal security videotapes, which they believe would prove Maher's innocence, have gone missing Monaco police say the video system was not working. And Maher's wife Heidi, argues that her husband's legal defence is compromised because it is state-appointed.

In fact, that is common legal practice, and indeed a human right, in most countries on occasions when the accused cannot afford a lawyer. Yet while Monaco is not implicated in a cover-up, there is a sense that it is actively presenting an untroubled face to the world.

This is not the first time that a banker's death has caused a scandal in the region. The police decided it was suicide, but a subsequent investigation found that a client of Ferry had constructed a large-scale fraud involving BIM. It also discovered that lax practices encouraging foreign tax evasion were endemic within the Monaco banking system. The most common method exploited a law which enabled foreign investors to create 'shell' companies in the names of Monegasque citizens for a small payment.

It has often been alleged that the system is abused by organised crime. Roger Bianchini, a journalist with Nice-Matin , told an author of a book on the Grimaldis: 'The whole system is well known to the initiated. But when underground deals begin to surface and scandal breaks through, Prince Rainier becomes concerned that the image of the principality could be tarnished.

As with other wealthy climes, such as Beverly Hills, the very sheen of Monaco's surface leads the visitor to suspect some form of moral corruption lurking underneath. The old wedding-cake architecture that survives is placed in the shade by the huge apartment-block developments that Rainier green-lighted in the 60s, creating an odd combination of sickly innocence and brash confidence.

Although there is a refreshing sea breeze and the streets are neurotically clean, the faintest smell of pollution hangs in the air alongside the sweet fragrance of jasmine. And there is a disturbing sense that no amount of money will wash it away. For all its publicity-seeking glamour, Monaco thrives on secrecy. Bankers may be attracted to secrecy, but so are storytellers. One of the more fanciful ideas doing the rounds has it that the Grimaldi grip on Monaco includes extensive telephone tapping based on a word-trigger system.

Against this backdrop of fantasy, any explanation of events provided by Monaco, the so-called Disneyland Dictatorship, would never be seen as the whole story. And indeed there are inconsistencies. Even Safra's widow's lawyer, Marc Bonnant, was concerned to ask that all the evidence be made available.

Was it credible and complete, what exactly pushed him to do what he did, how many fires did he set, are there any inconsistencies in his confession? A thousand questions come to mind which need answers to make any sense out of this tragic and absurd death. Among those questions, perhaps, are why did Safra remain in the bathroom even after the police arrived and why did it take two long hours for the fire brigade to get inside the bathroom?

And why is it that Maher is said to have started only one fire and yet investigators located two separate origins? In early official reports it was stated - unambiguously by assistant prosecutor Le Lay - that Lily Safra did not speak to her husband during his confinement in the bathroom, that she was asleep. Elsewhere there were reports that she had spoken to him on a mobile phone.

Bonnant told me, 'Edward Safra spoke twice to his wife, to his bodyguard and to the police. Bonnant says that everyone was still under the impression that two armed intruders were in the building, which is also why the fire brigade made slow progress. But given the police presence and his own security guard, Safra must have been paralysed with fear not to feel confident enough to come out. Who did he think was after him? Bonnant is quick to scotch any talk of assassins. The right way is not to hire a nurse to start a small fire and hope that the police take two hours to get to him.

Now the defence is going to see the inside of the building and we've asked for further fire reports and to look at video film outside the home. It might be that we'll see two guys in balaclavas on top of the roof, but I don't think so. And you have to ask, why were there no holes in Ted's clothes where his wounds were?

Did the intruders thoughtfully lift up his shirt before stabbing him? Handelman also dismissed the idea that Russians were behind Safra's death. Not outside Russia. Most people thought Safra was holding IOUs or money for the mafiya, but they wouldn't have killed him for that. After Maher's confession was made public, people began to ask how Safra had ever come to employ a man with such evident psychological problems.

Suddenly it was common knowledge that Maher had a prescription-drug problem - according to Serdet - a history of violence and unstable personality traits. His colleagues at Columbia-Presbyterian countered these stories and provided an image of a reliable and motivated worker. Bonnant has said that Maher was properly vetted through 'in-depth background checks', as well as being interviewed by Safra himself. Nothing in Maher's files showed the slightest trace of mental instability.

Some newspaper articles quoted a former neighbour who quarrelled with Maher. According to Maher's defence, Levelle himself was cautioned a number of times by the police. Much was also made of Mayer's leaving the Las Vegas police force after only three months. His defence say he quit because he contracted spinal meningitis. So was it a bizarre aberration?

But the same source believed Maher was under pressure because his wife wanted him to return home and he wanted to stay in Monaco. What even his detractors agree on is that Maher never intended to kill Safra. However, Maher is currently charged on a count of arson leading to death, a crime which carries a maximum life sentence.

In his Monte Carlo office, high above the Boulevard des Moulins, Donald Manasse, an American-Frenchman who is assisting Georges Blot, told me, 'Ted is not guilty of the crimes as charged and we are seeking a requalification of the charges.

Optimistically, he might be looking at four to six years. But that's still a very severe sentence for what basically amounts to an accident. Bonnant demonstrated the Safra family's determination to gain what they see as justice. He told me: 'We want to ensure that the one who caused this will be properly punished. The trial is unlikely to come to court until early next year.

The investigating judge, Patricia Richett is still conducting her inquiry. Given the profile and importance of Safra, and the sensitivity of the Monaco authorities, fears have been expressed by those close to Maher that the investigation might be partial. Throughout his work Torrente has p. What has been neglected for the most part in this approach is that Torrente takes an equally playful approach to geography. The trilogy also offers secret spaces wherein lies some historical key, or indeed something to tell us that history and myth have been manipulated ibid.

In Fragmentos the cathedral city of Villasanta is ultimately a construction of words that is easily destroyed at the whim of the narrator. Likewise the island of La isla de los jacintos cortados is able to move itself about like a boat, and towards the end the novel takes on the role of a warship sailing out to battle.

In terms of history, Herzberger argues that. Writing the past thus becomes a twofold endeavor: it is a way to write and act against the grain, as well as a means to develop narrations that allow and even compel the opening of history to divergence. Herzberger : 2. Herzberger has in mind here the blurring of not only fiction and history but fiction and historiography and the notion that history, too, is a form of narrative.

But the idea of liquefied matters applies to uses of geography, too: landscapes, too, can change shape or meaning in order to write against the grain. Torrente was known for having links to the Falange in the early years of the Franco era: despite signs later on of dissidence from the Francoist position, he refused to make a public admission of guilt for belonging to the Falange.

Other scholars have tried to smooth over Torrente's political past. Labanyi, too, notes the ambiguity of the author's political affiliation over time: writing for an anarchist paper while a member of the Falangist literary scene, later disaffected from the regime and censured for his signing a letter demanding censorship reform in Labanyi : The chapter considers these novels to demonstrate how landscape, space and place, being apparently indeterminate, function as sites of literary play.

Nonetheless, as metafictional texts, I believe that they also draw attention precisely to their status as texts of forgetting, and that this too comes into play when considering Torrente's playful geography. The imaginary world does not deceive us, as Torrente tells us in Yo no soy yo , but it allows for an alternative reality that replaces what really happened, the world as it ought to have been rather than as it really was. But it is not an alternative space whereby lost or hidden memories may be recuperated, as with the previous chapter, but rather a retreat from the more uncomfortable associations with the past, a space wherein history might not be re-remembered but undone, dissolved — a space, perhaps, where historical guilt can be done away, where there is room for an association with Spain that lacks any history.

The question — or problem, depending on your point of view — of what to do with the Francoist cultural legacy has recently come into view as Hispanic scholars debate how we remember the past. Jordi Gracia argues, in the same volume,. Half a century is plenty of time to allow us to turn to the past and look at it ourselves, not through the lenses of others who experienced the difficulties of anti-Franco militancy or were forced to modify their readings and criteria so as to avoid playing up to a power or counter-power.

We have started to read Spanish fascist literature using criteria that are less biographically conditioned and thus freer from the hostility personal experience previously projected on it and its practitioners. Gracia : I am not so sure that hostility to the positions sometimes or always embraced by authors such as Torrente is eroding so simply. Hostility is also a memory that can be passed to new generations, and also at one remove to scholars educated about such memories.

Nonetheless, if, as in the previous chapter, I talked of a geography of memory, it seems fair to talk also of a geography of forgetting. Imagined geographies are commonplace as a daydreamer's escape of more mundane or even traumatic realities: the efforts to reconsider the role of Francoist cultural texts means that we might consider the possibility of personal traumas even for those on the winning side in the Civil War.

That last clause was one I found personally difficult to write: how to compare Torrente's own personal difficulties with the starvation and poverty, unjust imprisonment p. It is a question to which I have no easy answer. I believe Torrente's position to be that any imaginary geography, including his own, can be deconstructed and destroyed, but that while it lasts it gives pleasure free from the constraints of history, and those geographies that he imagines are places where he or his characters can conceive themselves as belonging.

Torrente shares with del Toro the desire to tell stories beyond the constraints of history and in that sense they are both writing history as if it were otherwise that goes beyond a Manichaean split between left and right or losers and winners. But, furthermore, the use of a ludic geography to erase history is not the simple forgetting that we might suppose, because Torrente's landscapes are haunted by a real referent, that of Galicia, Torrente's homeland.

It is not that the places that Torrente writes about are Galician necessarily, or that he is in effect trying to reproduce elements of the region, but I do suggest that even in the process of forgetting, such a process implies a memory ghosting behind. Torrente himself claimed an indeterminacy for Galician landscape, which we can easily detect in his work:. En Galicia no sabemos lo que es nada.

Torrente Ballester : 2. In Castile, a tree is a tree, a stone is a stone, and likewise a house or a castle. In Galicia we do not know what anything is. The castle could be a house or it could be a giant's humpback, and obviously the inhabitants of the woods are many more than we can see. That is, there exists an indeterminacy, a vagueness, which prevents us from being dogmatic. So that the first notable difference in the face of Castilian dogmatism is the Galician's ambiguity.

The quotation above, however, not only suggests play and fantasy references to giants and castles but an imprecision which significantly excludes dogma a dogma specifically defined as Castilian. I have selected these novels because their geographies are in a sense paired: Castroforte de Baralla, the location of the first novel, is opposed and hostile to Villasanta de la Estrella, the setting of the second. But both towns are subject to manipulation and dissolution by certain privileged characters contained within them; and both carry traces of Galician landscape markings.

I will then move to another novel, less well known and discussed, La rosa de los vientos , to consider Torrente's use of geography in terms of mapping and cartographic ideas, where the question of real referents, although still touching on Galicia on occasion, opens up more widely to reinforce the notion of geographical hauntology even as Torrente uses landscape to create a space outside history. The town's rivalry with neighbouring Villasanta de la Estrella does likewise, adding a further irony in that the latter town will itself be shown to be nothing but words in Fragmentos.

It literally and figuratively becomes detached from the rest of the world. Thus it is not just the unity of thought but the thinking of things relating only to the town that cause the phenomenon, a forgetting of life outside the town: and only by remembering the latter does the town return to earth.

The fog further emphasises the detachment of the town from the rest of Spain, absorbed in its own Galician mist. The fog, the levitation, are signs of forgetting. His point of view is not accepted by the inhabitants of Castroforte. The fog, however, also brings with it not only the possibility of forgetting but also the spectral presence of Galicia's climate.

This further reminds us the possibility of forgetting, or of seeking an alternative time. Castroforte becomes a lost space as well as a lost time, a space out of time and out of history. When Bastida first becomes aware of the town in the process of levitation, he leans over the side of the town as it rises, and sees the following:.

Yo estaba, indiscutiblemente, en Castroforte, pero Castroforte no se hallaba en su sitio. Torrente Ballester , I was, undoubtedly, in Castroforte, but Castroforte was not where it was supposed to be. This detachment from the rest of Spain is no easy matter, given the suggestion of injury by the displacement, in the image of the arm ripped off. Nonetheless, the fog's Galician specificity offers the spectral possibility of the real Spain from which Castroforte can detach itself, thus reintroducing a sense of attachment if only to a certain degree, given Galicia's own semi-detached geographical position north of Portugal, out on a limb as it were.

Galicia is, as Labanyi reminds us, a Finisterre Labanyi : : we can consider this as a place where the land ends, ceases to be, but its own materiality is still implied in the term. Since the nativos are also associated in the novel with an uprising and bid for independence in the nineteenth century, this offers a possibility of seeing the town's levitation in terms of independence from the rest of Spain. Lynne E. However we wish to read these traces of Galicia — and the possibility of different interpretations itself suggests the ambiguities of hauntology — the complex imbrications of an imaginary space with a real referent suggest both the possibility and impossibility of forgetting.

If the levitation of Castroforte away from the Spanish mainland is a communal act, the destruction of Villasanta de la Estrella in Fragmentos is, in contrast, an act of the narrator's imagination. The narrator calls space into being through words and words alone:. Now, if I mention the city, there it will be too. So then, I mention: cathedral, monasteries, churches, the university, the town hall, the Archbishop's palace; and I mention: streets, squares, crossroads, the Duque road, the Passage of the Endemoniados ….

And so on and so on. But in the same way he created Villasanta simply by calling it into being, he can and does destroy it simply through words. The role of words — and who controls the words — in the creation of Villasanta is crucial. Loureiro observes that these are spaces created only with words, so that in the original planned ending to the novel it was only the words rather than the city that was destroyed Loureiro : —4.

The final version simply sees Villasanta collapse into a pile of dust while the narrator begins to think of something else, but an appendix gives an alternative version:. Torrente Ballester : Like words, geography too can collapse and be emptied of meaning. Its space is my imagination; Torrente Ballester : The last sentence confirms the crucial role of the author's or narrator's mind in the creation of space: but the notion that such space has nothing to do with reality is also intriguing, particularly as regards the temptation to equate Villasanta's cathedral with the real cathedral at Santiago de Compostela, perhaps the best-known Galician landmark.

The desire for control over space p. But the spectre of Galicia traces itself in the labyrinth: the trace of a real location means that the labyrinth is possibly locatable and thus not a total refuge. The lack of referents recurs when the narrator discovers that someone else is invading and using his narration — a reminder that the desire for association with a specific space or place is not monolithic but can relate to a variety of different purposes on the part of different subjects.

But it is the disappearance of referents to which I wish to draw attention here:. Incomplete cities lay open to our gaze, cities I had seen or imagined, and among them was Villasanta de la Estrella, a ghost more than a city, since nothing in it was clear and exact, nor orderly, but a pile of things waiting for someone to put them in the right place. This ghosting of Villasanta works both to render it indistinct — lacking specific landmarks whereby one might orientate oneself — but also to remind us that it has a real referent both in the narrator's own mind and also outside it.

Even an imaginary world still needs a sense of place. Thus the narrator draws attention to the idea that even the fictional characters he creates must move through place, and indeed he insists on it. As the anarchists walk through Villasanta for a clandestine meeting, he stresses the different routes they must take ibid. While the narrator confuses too easy an association of Villasanta p.

This playful and impossible space encompasses the whole of Villasanta; but play and irony, too, have little meaning without at least some connection to real referents. Loureiro views this play between imagination and reality as smoke and mirrors Loureiro : , but elsewhere notes, perhaps in contradiction, that imagination does not reign supreme in Torrente's novels but is counterbalanced by the weight of everyday reality ibid.

When Wylie, as mentioned in the opening chapter, talks of landscape writing he is emphasising the importance of the subject and of personal referents in engaging with landscape, space and place. Torrente's two towns suggest the possibility of landscape un-writing as well as landscape writing, which in turn implies the crucial nature of subjectivity.

They are pliable imaginary spaces that bend to the needs of the subject, but that subject cannot but draw in turn on ideas that correspond to real referents. These are spaces of forgetting and of retreat, of detachment from the real Spain and its real history; but the trace of Galicia to be found in both Castroforte and Villasanta suggest a semi-detached position that once again evokes Spain as both the place to retreat from and the place with which a final, total rupture suggests the trauma of being unable to come to terms with the less pleasant ghosts of the past.

Having briefly considered spatial aspects in these two major novels in Torrente's work, I now turn to a lesser-known novel, La rosa de los vientos , which has as it settings one of those imaginary countries suggested by the narrator of Fragmentos , a country that cannot be located on any map.

From his exile Ferdinando reflects on the events that led to his loss of power, basing his tale on a variety of documents which may or may not be authentic. But this instability applies to geography, too, and the geographical parallel to documentary evidence on which history is based is the act of cartography, of mapping.

If we cannot trust historical documents, why should we trust in geographical data? With this dilemma we return once again to the lack of geographical fixity to be found in Torrente's work, and in this light it is worth first considering the relevance of the novel's title, La rosa de los vientos , or the compass rose, which immediately brings to mind ideas of ships and the sea, of navigation — of geographical movement.

The compass suggests simultaneously fixed points whereby location can be pinpointed, and the freedom of movement, of navigating, between these points. It is, not incidentally, worth remembering that the ideas of north, south, east and west that the compass brings to mind are to some extent in the mind and location of the beholder thus reintroducing once more the importance of the subject : for me, for instance, writing this in the north of England, Spain is a country to the south, while for someone in Africa or Australia, it is to the north.

The cardinal points are in fact mutable terms. She observes the significance of the wind as a motif in Torrente's novels, and says,. But geographical data, too, can go awry even as it is supposed to orientate us. As we shall see, Torrente leads us to doubt geography and maps, until ultimately the novel hints at an absence at the heart of the geographical enterprise: nothingness.

The compass points north or south but navigational data dissolve until eventually the compass is pointing at nothing. Furthermore, however, the p. The compass and the map are vital tools in navigation: if the compass indicates direction, the map gives us fixed points towards which we move. But cartography is not necessarily an objective science: as James Corner has commented:. The experiences of space cannot be separated from the events that happen in it; space is situated, contingent and differentiated.

It is remade continuously every time it is encountered by different people, every time it is represented through another medium, every time its surroundings change, every time new affiliations are forged. Corner , That is to say, the meaning of a place changes according to who lives there or uses that place, how the place is used, and how it is represented. Geography is not simply a question of scientific data but also a question of political and social concepts and situations that require human, sociopolitical negotiation the subject, once more.

In this sense geography is a mental as much as a physical entity, and as such it is something we can actively create ourselves according to our needs and desires — and create it anew should those needs and desires change. There are alternative geographies and alternative cartographies: a geographical mutability. As Frieda Hilda Blackwell has observed, a total divorce from external reality is not possible, but the writer has the right or even the responsibility to create new, maybe obscure, realities that have not yet come into being Blackwell : The link between geography and the imagination is also to be found in the links posited by Edward Said between imperialism and geography:.

If there is anything that radically distinguishes the imagination of anti-imperialism, it is the primacy of the geographical element. Imperialism after all is an act of geographical violence through which virtually every space in the world is explored, charted, and finally brought under control. For the native, the history of colonial servitude is inaugurated by loss of the locality to the outsider; its geographical identity must thereafter be searched for and somehow restored.

Because of the presence of the colonizing outsider, the land is recoverable at first only through the imagination. Said : In Said's terms, Ferdinando can only recover his country through his imagination, and the readers of La rosa are witnesses to the re- creation of his land in his imagination. His country — never named — has disappeared as a distinct geographical entity, which means that fixed points, whether towns, cities or countries, are still susceptible to change depending on who perceives them and also who names them.

Given his condition of exile, the imagination is the only way in which he can do this: Said says,. To the anti-imperialist imagination, our space at home in the peripheries has been usurped and put to use by outsiders for their purpose. It is therefore necessary to seek out, to map, to invent, or to discover a third nature, not pristine and pre-historical … but deriving from the deprivations of the present.

The impulse is cartographic.

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How did you buy your ticket? View All Photos Movie Info. Crooked cop Torrente gets out of jail in the year to find a different Spain from the one he knew. Action, Comedy. Santiago Segura. Dec 6, Neus Asensi Amparito. Carlos Areces Ricardito. Chus Lampreave Reme. Jorge D'Alessandro Trainer Argentinian team. Josep Pedrerol Sports commentarist. Xavier Deltell. Leonardo Dantes. Alec Baldwin John Marshall. Fernando Esteso. El Langui. Santiago Segura Director.

Santiago Segura Writer. There are no critic reviews yet for Torrente 5. Keep checking Rotten Tomatoes for updates! See Movies in Theaters. Best Horror Movies. Trailer Torrente 5. Photos Top cast Edit. Santiago Segura Torrente as Torrente. Alec Baldwin Marshall as Marshall. Carlos Areces Ricardito as Ricardito. Chus Lampreave Reme as Reme. Neus Asensi Amparito as Amparito. Jimmy Roca Mogutu as Mogutu.

Fernando Esteso Cuadrado as Cuadrado. More like this. Storyline Edit. Did you know Edit. Gabino Diego , who originally played that character and also had a small cameo on the first movie Torrente, el brazo tonto de la ley has not returned to the franchise since Crazy credits At the end of the credits there's a brief scene where Sonsoles Cuadrado's wife , who is still tied and taped mouth in the hotel room, talks to the audience. Also, Dominguero's voice from the WC can be heard asking for the soccer game score.

Connections Follows Torrente, el brazo tonto de la ley User reviews 8 Review. Top review. Good FX bad acting worse comedy. First of all; some characters are back but with different actors and not as good as the originals. Others quite capable like Firoentino Fernandez are almost unused. Screen time was given to the more stupid characters perhaps cheaper actors and very little to the really good ones but Santiago Segura who this time is not really able to keep the movie going.

Alec Baldwin is another misstep; usually a good actor and somewhat comedian; here is none. Only overacts as the bad guy and dares to speak Spanish not that bad really but little.

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