It’s become a reigning pulp cliché of our era that practically every dramatic protagonist must have a dead or endangered child motivating them. It’s the fallback device to provide “depth” to a troubled character, or to explain why they might bother saving the world or doing anything else for the greater good. Lorena Villarreal
” takes that lazy writer’s emotional choke-chain to ridiculous extremes, as eventually here it seems there’s almost no central figure who doesn’t have a child’s life to rescue or avenge. This turgid fantasy thriller, boasting scant thrills or imagination, douses a mystic time-travel concept with soap operatic hand-wringing to mawkishly unconvincing effect. The U.S.-Mexican co-production is getting released to some 300 Stateside screens, primarily targeting Hispanic markets.
A prologue depicts a Nasa
missile going off-course and crashing in the Zone of Silence, “the Bermuda Triangle of Mexico” which