A horrific car accident connects three stories, each involving characters dealing with loss, regret, and life's harsh realities, all in the name of love. I love Aejandro González Iñárritu's work as a director especially in Birdman and The Revenant. But this is without a doubt his worst film that i have ever seen, the acting is wooden, the characters are bad and the situations that they go threw are not as dramatic as they might have hoped cause personally i hated all 3 stories more and more and none of them become clear by end plus the film doesn't have an actual main character. Also they should be shamed of themselves for what they did to those poor dogs threw out the entire film and don't get me start on that running time. Overall Amores Perros is an overrated junk with some of the worst acting performances i've ever seen. (0/10)

Get ready to Fast Forward. The first 50 minutes are great in every way. Then, we get thrown into nonsense about some stupid super-model & her ridiculous dog Richie & her dim-witted married lover. Everything that happens in the next 45 minutes is NONSENSE. They both have fine-to-great jobs but they can't seem to afford or understand how to do anything half-way intelligently. The can't even a afford a decent doctor. If Mexicans are this stupid & their doctors that bad, no wonder many Mexicans prefer to live in a US prison than to live in Mexico City. The only defense you can make for the middle episode is that it must be a surreal statement on the stupidity of the very concept of a "super-model". Unfortunately, it is surreal how bad it is & how amateurishly heavy-handed the symbolism is. If they re-release this film with the entire 2nd episode removed, I might give this 8 or 9 stars. It may seem harsh to give it only 2 when only 1/3rd of the film stinks, but when you release a film with 45 minutes of NONSENSE in the middle, you lose credibility & respect.

Alejandro Gonzáles Iñárittu's feature film debut is a masterwork of outstanding direction, terrific writing & fabulous performances which, thanks to its ingeniously layered & cleverly narrated story, commences his directional career on a rousing high while also succeeding as one of world cinema's finest films to surface on the silver screen at the turn of the new millennium.Amores Perros is a three segment story interconnected by a car accident. First segment concerns a young man who enters the world of dog fighting for easy money in order to start a new life with his sister-in-law. Second segment is about a supermodel & covers her life after the near- fatal accident, and the final segment involves a mysterious vagrant wandering the streets of Mexico City.Directed by Gonzáles Iñárritu, the film is the first instalment in his Trilogy of Death and where its real strength lies is in the cut-throat fashion in which it grabs the viewers' attention from its opening moments & never lets go until the very end. Written by Guillermo Arriaga, the screenplay is a work of quality in itself, for each event is thoroughly refined & the characters are carefully fleshed-out.Cinematography makes extensive use of hand-held cameras & provides a raw, gritty look to the whole narrative. Editing is deftly carried out for each segment is emotionally gripping & steadily paced. Gustavo Santaolalla's score & other incorporated songs nicely compliment the story, and its entire cast chips in with a stellar performance which ends up further elevating its overall impact.On an overall scale, Amores Perros is a brutal reflection of love, loss, loyalty, betrayal, revenge, regret & hope, expressed through its characters' dilemma in a highly compelling manner, which also offers an insight into the different sections of Mexican society. This instant classic may not be an easy sit for few due to its disturbing content but for its remorseless take on the fragility of life, this essential cinema comes strongly recommended.

The movie serves the viewers with three sub-stories which don't really correlate. It opens up strongly with a sequence that serves as an anchor for all those sub stories. But the anchor isn't the only congruency point this movie uses. There are other quite meaningless rendezvous where the focus characters, who don't really know each other, meet and don't really share any line of dialog. But those smaller rendezvous serve well as time anchors, helping the viewers understand the timings of each scene. The stories also come very strong. Focusing on different backgrounds for each story, They each reveal themselves full of varied surprises and twists, although some of them are fairly predictable. The acting overall is just another decent effort. It sure is not really this movie's strongest point. But again, the story and the general story flow alone should suffice to make this movie good entertainment.