Today We Fix the World 2022 Movie Review Poster Trailer Online
David “El Griego” Samaras (Leonardo Sbaraglia) is a real shit. He laughs his way through a terrifying, turbulent flight because he’s high on pills. He’s a TV producer whose hit series, Today We Fix the World, is so trashy and phony, the show’s employees actually want to get fired. (Frankly, the show’s premise is befuddling – something to do with concocting fake stories for actors to present as real on a ridiculous “garage” set where a host “fixes” the problem? It has something to do with hypnotists and faux-doctors, too. I shrug mightily.) He’s also a mostly absentee father who, when asked to pick up his nine-year-old son, Benito (Benjamin Otero), goes to the school the kid left two years ago. Griego lives in a swank Buenos Aires apartment and has filled Benito’s sometimes-bedroom with wacky props from the wacky show; his girlfriend arrives and he leaves the boy in another room to listen to them shtoink loudly. This guy needs a swift kick in the pants, and if I’m not mistaken, he may be ripe for a Redemption Arc.
One day he meets with his ex, Silvina (Natalia Oriero), Benito’s mother. She says she wants to accept a promotion and move to Madrid with Benito and Griego shrugs and she teases him that he may not actually be the boy’s dad and then she goes outside and gets hit by a car. Killed. We’d feel more sad for the kid, who’s now motherless and stuck with a cad for a dad, if this development wasn’t a capitalization-necessary Plot Development, and a crass manipulation. Looks like Griego is going to have to put his big-boy dad pants on here – OR IS HE. The DNA test results come back and confirm, yes, indeed, Benito is not Griego’s son. As if Griego’s not upside-down enough, Today We Fix the World (the fictional series), is slowly slipping down the mudhill to irrelevance, which means we’ve now hit two major checkpoints on the Redemption Arc: Emotional and professional upheaval.
Griego breaks the news to Benito, who might be sad or might be relieved or might be both. But they agree that the biological father must be found; Benito has his mother’s phone, which contains contact info for a variety of potential papas. So will they go on a quest and experience father-son bonding for the first time ever, no matter how ironic it might be? Will they meet an assortment of weirdos and miscellaneous doofuses who just might be even worse dads than Griego? Will the plot involve a friend of Salvina’s, Yani (Charo Lopez), so Griego has a potential love interest and they can form a makeshift family as they try to solve this problem? NO SPOILERS AMIGO.
What we have here is a classic case of a mixed bag: Today We Fix the World is enjoyable for the easy chemistry among Sbaraglia, Otero and Lopez, who share enough earnest, lightly comic moments to render the movie nearly watchable. But the screenplay is carved from wholesale bullcrap – the Griego character is either incapable of having an actual human conversation with other characters, or the writers are incapable of concocting one. Nobody ever asks a direct question and therefore never receives a clear answer, and on goes Griego to the next possible paternal candidate, in a maddening cycle of narrative frustration. This is an exquisite idiot plot. You know, where basic communication skills would make the core conflict far easier to navigate, and maybe in this case, the movie wouldn’t stretch to an obstreperous 113 minutes.
Within the basic outline of the corny and predictable Griego-Benito bonding arc, I caught a whiff of some the essential struggles of child-rearing – say, how parents are doomed to imprint their children with psychological scars, inspiring one to lament how poor Benito, with his responsible parent gone from this mortal coil and stuck with a selfish weasel of a non-father, seems extra doomed. Otherwise, the film is a colorfully shot, slickly produced nearly-two-hours of dicking around in silly sitcom situations laced with unaffecting melodrama. The idea of “fixing the world” is deployed with plenty of irony via that ridiculous TV series and its obvious parallels to its creator’s increasingly unruly life, but it never really lands; it’s shot into space until it’s a dot in the sky, an opportunity lost.