Made of dazzle and wit and melancholy, Alonso Ruizpalacios’ fabulously entertaining Museum is loosely inspired by the tale of Mexico’s most infamous museum heist: the theft of 140 Mayan and Mesoamerican objects of inestimable value from the National Museum of Anthropology on Christmas Eve, 1985.
This is a film of wildly different moods and segments, but Ruizpalacios is equally invested in every facet of his prismatic story: the family drama, the knockabout buddy road movie, the lovable-loser arc […]. He finds bewilderingly clever and refreshingly new ways to deliver each strand […].
And so it marks not only the definitive establishment of Ruizpalacios as an exciting talent. Half the technical team, too, have tumbled through the arrivals gate with him. It’s difficult to adequately convey the elastic brilliance of Damián García’s dextrous cinematography, which remains stylistically coherent even while constantly inventing and switching itself up.
Where in his debut, [Ruizpalacios] broke the fourth wall on a number of amusing but distracting occasions, here, he just taps at the glass. A soldier at a roadblock asks for Juan’s autograph because he recognizes him as “that famous actor.” García Bernal’s bewildered look back over his shoulder is a pocket masterclass in acting, image, and star power, his handsome, well-known movie-star face disingenuously wearing the expression of an ordinary guy who has just been mistaken for Gael García Bernal.
Jessica Kiang, Variety