Films that tackle cutting edge issues have a responsibility and, contingent upon the subject matter, require the focusing of alternate points of view. Coordinated by Conor Allyn, with a script by Jake Allyn and David Barraza, No Man's Land fails in this respect regardless of its efforts actually. No Man's Land is to a great extent uninterested in investigating the Mexican characters' stories, which transforms the film into an uneven show that lacks subtlety.
Set nearby "no man's land" along the U.S.- Mexico line in Texas, the film follows Jackson Greer (Jake Allyn) and his group of dairy cattle ranchers. Jackson is one step away from leaving to play professional baseball with the Yankees in New York, a vocation move that gives his family much pride. Jackson, then again, isn't as amped up for this prospect and would much rather stay a farmer, to the dismay of his mom (Andie MacDowell), father (Frank Grillo), and sibling (Alex MacNicoll). The family is struggling, yet wrongly assumes the Mexicans crossing through their land are drug runners. Everything changes when Jackson shoots and kills a youthful Mexican kid who was passing through with his dad Gustavo (Jorge A. Jimenez) and a gathering of migrants. On the run, Jackson crosses the line into Mexico to cover up.
What's most frustrating about No Man's Land is the means by which obviously uneven the story is. While Gustavo is managing the passing of his son, Jackson is permitted to wander Mexico with next to no occurrence. Sure, he harbors some blame, however he's dealt with alright generally, rapidly looking for some kind of employment and meeting individuals who will help him out despite how horrible his Spanish is (years living close to the boundary should have shown him a couple of words at any rate). The account fashions itself a recovery story, one where Jackson goes on to in a real sense see the opposite side to acknowledge what he's been educated about Mexicans is off-base (despite the fact that it's past the point of no return).
In any case, No Man's Land is less about recovery and a greater amount of an assessment into the advantage that being white affords Jackson. He doesn't speak the language, he's a stranger to another land, but then he's not treated as a criminal the manner in which his family treated migrants crossing into the U.S. Perhaps that was the mark of the film from the start, however it surely doesn't fall off that route by any means. Furthermore, Jackson is given insight and profundity while Gustavo is not, left by the wayside to grieve the son who never got the same treatment as his white partner.
Any attempts made to strike a harmony between the journeys of Jackson and Gustavo are totally squandered almost immediately, with Jackson getting much more sympathy as the young fellow whose life was presumably destroyed by a demonstration of savagery. Considering what Gustavo went through and his experiences driving groups across the U.S.- Mexico line, the perspectives should have been flipped and the storyline would have been much seriously interesting had the crowd spent additional time with Gustavo instead of Jackson.
In the interim, George Lopez's ability is wasted. He's playing Ranger Ramirez, whose sole curve is to discover and catch Jackson. The film misses an immense chance to investigate and catch a greater amount of the nuances with regards to Ramirez being a Latinx officer in this specific scenario. What is his opinion about it? For what reason did he accept this position? Yes, Ramirez's non-verbal communication suggests he's burnt out on everything and his disapproving facial gestures show his opinion about Jackson's family, however Lopez's character gets next to no to do or say otherwise and it seems like a disturbing pattern while considering the plot. Eventually, No Man's Land might have been polished much more, however its choices leave a great deal to be desired.