Best movie of this year hands down!

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Well, unless you are a liberal, or you are a conservative with your head firmly up your keester, you will likely despise this move as much as I do, along with the left wing lunatic, Tommy (I think I'm a cowboy) Jones. As usual, Jones makes plenty of nasty comments about border patrol officers the same way he did in one of the Men In Black pictures, totally out of place in a comedy by the way. He obviously joins democrats in embracing those who have zero respect for the US border. If Jones and the effeminate Barry Pepper think that Mexico is so fabulous, full of the best the world has to offer, why not move? I know that IMDB is full of left wing lunatics, likely the staff shares Jone's left wing politics, but maybe even left wing fools can grasp the fact that no nation without a border has ever existed, it never will. There is NO utopia, it isn't possible. The United States Constitution applies ONLY to CITIZENS of the United States of America and those who have immigrated legally have the permission of the government to conduct business in the USA or even apply for citizenship. Why is it only Mexicans are allowed to flaunt law? Why not Africans? How about Israelis? No? I didn't think so. This movie is about democrat voter roles, the democrats care nothing for the USA, they simply want power, uninterrupted power. And millions of illegal aliens can give them this power and that is why they are for open borders, no other reason. The Democrat party, party of slavery, Jim Crow, Plessy VS Ferguson/separate but equal, segregation etc etc etc. The high and mighty democrats have a history of racism, while Republicans have always stood for freedom AND the law. If you don't allow this post, you're an idiot.

"The Three Burials of Melquiades Estrada" stars Tommy Lee Jones as Pete Perkins, a rancher stricken by grief when Mel, a close friend and Mexican employee, is killed by a trigger happy border patrol guard. Enraged by the local police force's indifference toward Mel's death, Perkins sets out to fulfil a promise by taking Mel's corpse home to Mexico. He takes Mel's murderer – a deranged border patrolman played by Barry Pepper – with him.The film was written by Guillermo Arriaga ("Amores Perros", "21 Grams"), a writer with a fondness for non-chronological plot-lines. As a result "Burial" is initially off-putting, until its various narrative strands begin to gel and Arriaga's plot becomes cohesive.Like John Sayles' superior "Lone Star", the film is a racial tract dressed up in cowboy garb: an allegory about affluent bullies who exploit their Third World neighbours whilst covering up the misdirected violence of their own hotheaded proletariat. The film works best, though, not as a message movie, but as an evocation of small town West Texas. This is a dead, forgotten world, where emasculated men bully both women and immigrants just to feel alive. The film's title refers to the repeated burials and excavations of Mel's corpse. There are many ways to bury a man, the film says, but only one is right."Burial's" cast is mostly fine, expect Pepper, whose character is written as a raging, caricatural hot head. Not only is his narrative arc clichéd – he moves from resentment to forgiveness, and so redemption, after witnessing the hard lives of Mexicans first hand – but his character demonizes and personalises what are ideological, political and structural problems. Lazy, aggressive, violent, sexual perverts patrol the Mexican borders, the film wants you to believe. Look how they bully poor, nice, kind-hearted Mexicans! Which is not to say that the violence of such men does not spring from feelings of emasculation, but that the issue is infinitely more complicated. For example, just 44 percent of the border is actually patrolled, and what is patrolled is mostly a charade, as there is an unspoken understanding that the US economy is heavily reliant on cheap labour provided by immigrant workers. As much as 1/6th the population of Mexico lives and works in the United States, most of it under conditions of illegality, with little protection from the exploitation of low-wage employers. This, of course, is all engineered to keep the cost of goods low (Wal-Mart routinely makes almost 300 billion in annual sales, 11 million of which goes toward paying reprimands for hiring illegal immigrants) and to prevent the problems and violence of the borders travelling inland and engulfing the white lower and middle classes. A somewhat unconscious decision is thus made: better ticked off, poor Mexicans over the border, than ticked off whites at home. The border is less a cartographic demarcation than an instrument of social and class relations.If Pepper is a caricature who distracts away from the core of real issues, Jones fares better. His grief is palatable, though because his relationship with Mel isn't fully explored, his sorrow isn't as affecting as it should be. Interestingly, the film reduces Jones and Mel's friendship to bouts of shared sex with hookers. In an emasculated town, where everyone plays games of dominance/submissiveness, the hetero-couple's companionship boils down to a willingness to copulate in tandem. To get around the contradiction of these "good" men hiring hookers, the prostitutes are portrayed as "hookers with hearts of gold", their male clients totally submissive to the women's needs and wishes.Mixing noir tropes with that of Westerns and Southern Gothic literature, "Burials" belongs firmly to the "Mexican-American border neo noir", or "Tex-noir" hybrid genre. Some of the sub-genre's better film include "Extreme Prejudice", "Bring Me The Head of Alfredo Garcia", "No Country For Old Men", "Flesh and Bone", "Lone Star", "Lonely are the Brave", and "The Border".7.9/10 - Worth one viewing.

Here's the kind of movie that appears every once in a great while that actually makes you think, and more so, reflect on such intrinsic human traits as loyalty, friendship, integrity, and alienation. Coming out as recently as four years ago, it's a film I had never even heard of until it made the rounds on Encore Westerns recently, and even then, it's title didn't interest me enough to tune in at the time. However with the luxury of a few days free time on my hands, I managed to pick it up at my local library. To say that the movie is mesmerizing would be somewhat of an understatement. It's morbid and fascinating at the same time, a slow motion train wreck that begins with the Tarantino-esqe convention of a non-linear story line, then descends into a nightmare reality for it's principal players as the viewer simply can't imagine how it will all turn out.The movie was oddly reminiscent for me of two other films, one from four decades ago, and another quite recent. The picture's early treatment of alienation among it's characters, (Lou Ann and Mike, Rachel and Bob) was as powerful here as it was in 1971's "The Last Picture Show", both taking place in the stark heat and dust of the American Southwest. With a small town population one could virtually count on just a few hands, both films dwell on the notion that "It's always the same, always the same" - with the perverse realization that whatever you do doesn't remain a secret very long. So the indiscretions of a waitress are known to everyone, and stepping outside of the town's comfort zone is a concern for one and all.The other picture that comes to mind is another Tommy Lee Jones vehicle, the recent "No Country For Old Men". Both stories lend themselves to a randomness of events that at any moment threaten to spiral out of control. Gunshot wounds and rattlesnake bites are unseen and unintended consequences of moving in the wrong direction, while even well thought out plans never foresee potential obstacles along the way. With both pictures, you're left with the uncomfortable sense that the Tommy Lee Jones character remains joyless and without direction, even with closure. Both finales are as powerful as they come.It's been a few days now since I've watched 'Three Burials' and I'm still thinking about it. That's in no small measure to those ghastly and grotesque sequences when Pete (Tommy Lee) battles the ants and applies the antifreeze embalming. Is it weird to suppress an involuntary chuckle while at the same time you're going 'WTF'? But there's also the relationship Pete forges and forces with Mike (Barry Pepper) while on the trail to complete his mission. It's a surreal crossroads both men arrive at when Mike asks Pete if he's going to be OK, but no stranger than asking the same question of the man he killed.

i rented this movie for a good night in. and was it a good night in? NO THE MOVIE IS A DISASTOR!!! this film from start to finish is bland boring and there isn't a plot really its just about a fella who shot another fella and the fella who has the blame is dragged around for the whole film.this film is like a project gone wrong. when i first rented it i was expecting a great modern day western with good action or drama to it. instead i got a bad film. watching barney is more electrifying than this!!! the film is just awful!! i don't mean to be ignorant but how did they not see how bad this film actually is when they were making it. it is so so dull and dragged out!!! it could of been a lot a lot a lot better if they added a load of violence and chasing but even at that i don't think anything could of helped this film!