Carlos Aguilar

Zoran Popovic’s uninspired cinematography, paired with barely credible production design, give “Path to Redemption” the aesthetic feel of a low-budget reenactment segment in a basic cable history show. The performances operate at about the same level; no one gets to shine beyond over-acting during a few emotionally charged scenes.

A convoluted plot leaking sappiness, in-your-face preachy dialogue, and TV-movie-style lighting are adequate, so long as its bigoted message is getting out there. God Bless the Broken Road is subtler than its predecessors, but that’s not saying much.

Ya Veremos, with all its clichéd antics and uneven performances, has already been a hit in Mexico despite middling reviews. Would an unsuspecting, non-Latino viewer who randomly walks into this have a pleasant reaction? Very likely, if your sensibilities align with the film’s tropes and feel-good qualities, and you don’t mind the glaringly predictable trappings.