Inspired by the great efforts of Guevara, a young courageous honest man, who after being exiled to Mexico, manages to cross the borders of Cuba, where he manages to gain the trust of people within two weeks, the thing that inspires his attack on the corrupted ruler.
A potentially great title-role performance by Benicio Del Toro, which won him the best actor award at Cannes, is buried beneath Soderbergh's stylistic tics and a defiant lack of dramatic tension.
There is precious little in these movies to fill out our understanding of what it was that made Che a rebel, a leader of men, and the repository of the romantic dreams of several generations of armchair revolutionaries
Soderbergh has no interest in sentimentality, or back story, or even really in Guevara's philosophy, except as a rigorously footnoted onscreen reflection. Practically rejecting outright the concept of poetic license, Che is radical as a biopic.
The director sees Guevara as a pure humanitarian. ... The films are excellent, but understanding this complex historical figure requires more than one source.
In releasing this reverent, meticulous, fascinating but flaccid history in two lengthy parts, Soderbergh committed perhaps the greatest sin of all. He made Che boring.
The quality of the film is more than a testament to Mr Del Toro's acting skills, it is a reminder that Hollywood can make great films without 'selling out'.
