This film, despite obvious attempts by the director to create a piece of art, comes off as an incredibly one-sided, contrived sob-story in its portrayal of illegal immigration between Mexico and the US. Examples of the film's shortcomings: all of the characters are extremely stereotypical (the hard-working, proud, honorable, heroic mother; her foiling party-loving, less intelligent friend; her gallant but shy suitor; her determined, precocious son; his tender-hearted rogue guardian; the ball-busting smuggler matriarchal with a heart of gold; the patronizing, unfeeling Caucasian socialite whom they un-creatively nicknamed Cruella Deville; the happy-go-lucky mariachi musicians), many of the scenes were equally stereotypical (the boy and his guardian's airing of grievances through an impromptu karaoke scene in the back of the Native-American run diner; the cathartic sacrifice of the once-gruff guardian at the end, complete with face-in-grass-knee-on-back cuff shot with the cops; the cornering of the boy at his own birthday party by his money-hungry,aggressive relatives; the bated breath scene of anticipation at the border patrol station), and finally, the amateur, over-the-top performances given by nearly all of the actors in the film. But perhaps most disturbing (and disappointing) was the complete villainization of the entire US law enforcement organization. The border patrol officials, in doing their job, come off as sassy and harsh. The INS officers storm into a tomato plant, chase down the workers, beat a few of them mercilessly, and then line them up in the dirt outside execution-style. The police at the end, though only expressing concern for a young boy sleeping on a park bench alone seem like the bad guys. Even the soundtrack often points the finger at the all-elusive "white man" who is supposedly oppressing all minorities alike. The white American characters in the film are rich, snooty, oblivious, or a combination of all three. It is ignorant to make films that not only show one side of an issue, but don't even show it well. Movies like Maria, Full Of Grace, are much more effective because they include an aspect of objectivism and force even the most staunch believer to examine the opposing viewpoint. This film, however, polarizes the two sides of the issue instead of exploring the ways in which they intersect. White people, Americans, America, rich people, and law enforcement officials are NOT the enemies, despite this film's insistence. No one is intentionally trying to break families up or ruin lives. America has laws to protect its LEGAL citizens, just as every other affluent country in the world does. The changes to this issue will have to come from Mexico's government in a serious attempt to reform the country. When it can offer its citizens a higher standard of living, they will no longer feel compelled to risk their lives and be exploited in a neighboring land that is trying to deal with its own economic and social issues. Until then, we can only hope filmmakers will have more integrity when exploring such territory.