Metascore
64

Generally favorable reviews - based on 17 Critics

Critic score distribution:
  1. Positive: 11 out of 17
  2. Negative: 1 out of 17
  1. It is best to let this stunning film simply wash over you and trust that all will become clear enough in time. Vengo in a sense is a concert film tied together with the slenderest of plots.
  2. 80
    Gatlif's latest celebration of gypsy soul, sets a modest sliver of narrative in a fabulous widescreen landscape and surrounds it with a permanent party.
  3. Feels like a song you may have heard before, but one whose aching beauty makes it endlessly listenable.
  4. There's just no arguing with 12 centuries of flamenco, and, in this sensuous movie, no resisting it.
  5. 80
    Elegant flamenco tragedy.
  6. 78
    There's a deep, bone-weary melancholy to the proceedings, offset by the mad parties and vicious displays of machismo.
  7. Characteristically lacking in narrative -- but what it misses in traditional plot devices, it more than makes up for in passion.
  8. Reviewed by: Loren King
    75
    Presents a darkly realistic yet seductive world, with music as the tie that binds.
  9. On its own, the story is tepid, and less than original. What draws us in is the way in which Gatlif sets it against a rich Andalusian backdrop.
  10. Reviewed by: David Stratton
    70
    Music has always played a vital role in the films of Tony Gatlif, and in Vengo it finally threatens to take over, submerging the frail, familiar vendetta plotline.
  11. Reviewed by: Patrick Z. McGavin
    63
    Filled with dazzling moments, Vengo never quite reaches the heights those moments promise.
  12. 60
    A musical feast for eyes and ears alike.
  13. There may be no more unusual movie around than Vengo.
  14. 40
    All that this really amounts to is a lot of hot-headed, hairy men threatening each other -- whenever they're not dancing on table tops, that is.
  15. 40
    The non-professional actors do their schmaltzy best with Gatlif and co-writer David Trueba's sparse dialogue and what appears to have been Gatlif's very limited direction.
  16. 40
    Seems held back by vestiges of an old-fashioned format that Mr. Gatlif has long since outgrown.
  17. Neither convincing nor remotely dramatic.

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