Messy, Uneven, and Weirdly Endearing

Read Time:6 Minute, 22 Second

MOVIE REVIEW
Nacho Libre (4KUHD)
–

Genre: Comedy, Sports
Year Released: 2006, Kino Lorber 4K 2025
Runtime: 1h 32m
Director(s): Jared Hess
Writer(s): Jared Hess, Jerusha Hess, Mike White
Cast: Jack Black, Ana de la Reguera, Héctor Jiménez, Darius Rose, Moisés Arias
Where to Watch: available now here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: NACHO LIBRE has never been a movie that meets audiences halfway; it lets you know what it is and asks you to come to it on its own terms, not just in tone, but in style, performance, and even emotion. Nearly two decades later, that commitment to awkward sincerity remains both the film’s greatest strength and its most persistent limitation. I think I probably appreciated the film more now, watching it for the first time, than I would have 20 years ago.

Directed by Jared Hess, coming off the unexpected cultural lightning strike of NAPOLEON DYNAMITE, NACHO LIBRE feels like a filmmaker doubling down rather than spreading out. This is not a Jack Black studio comedy in the conventional sense, even though it stars Jack Black at his most “Jack Black” and unleashed. Instead, it is a deeply specific comedy built around deadpan comedy, intentionally stilted dialogue, and a refusal to chase punchlines. Whether that reads as confidence or indulgence depends entirely on the viewer’s tolerance for discomfort-driven humor.

Jack Black’s performance as Ignacio, a monastery cook harboring secret dreams of lucha libre glory, is at odds with mainstream comedy expectations. He plays Nacho sincerely to the point of delusion, treating every moment, no matter how absurd, with absolute seriousness. The comedy doesn't come from exaggerated reaction shots; it comes from watching someone commit to emotions that the world around him refuses to validate. Black’s physicality and musical flourishes are all exaggerated, but never in a way that suggests parody from his point of view. Nacho believes in himself, and that unwavering belief becomes the core of the film.

That commitment extends to the supporting cast, particularly Héctor Jiménez as Esqueleto. Their dynamic is not set up like a typical buddy comedy. There is no constant verbal sparring or escalating one-upmanship. Instead, the humor emerges from mismatched priorities and emotional asymmetry. Esqueleto is pragmatic, opportunistic, and openly self-interested; A muddled mix of faith, ego, and genuine compassion drives Nacho. Their scenes together work best when the film allows space for awkward pauses and underplayed reactions rather than pushing for overt laughs.

Ana de la Reguera’s Sister, Encarnación, functions less as a traditional romantic interest and more as an emotional center. The film treats her with surprising restraint, avoiding caricature and allowing her reactions to ground some of the comedic swings. Her presence reinforces that the film is not mocking belief or devotion, but rather exploring the tension between systems and individual longing. That undercurrent is subtle and easily overlooked, yet it gives the story a sincerity that elevates it above pure sketch comedy.

NACHO LIBRE’s narrative progression feels secondary to individual moments, many of which land with varying degrees of success. Some jokes feel perfectly tuned to the film’s wavelength; others stretch too thin or simply stop short of payoff. This unevenness is part of the film’s identity, but it also prevents it from achieving the consistency needed to reach a higher tier of comedy. The third act, in particular, leans heavily on familiarity rather than escalation, resolving its conflicts in ways that feel emotionally satisfying but muted.

Over time, NACHO LIBRE has developed a cult following that often reads deeper meaning into its absurdity. While the film does explore themes of faith versus institution and self-belief versus conformity, it never fully dives into these ideas. They exist as texture rather than thesis. That restraint works in the film’s favor emotionally, but it also limits its resonance. There is a version of this story that could have pushed those ideas further without losing its identity.

The film, against today's modern look, feels less like a misunderstood classic and more like a time capsule of a very specific voice. Its humor isn't timeless, but it is honest. It doesn’t feel like it’s chasing relevance, nor did it soften its edges to appeal to a broader audience. That stubbornness is admirable, even when it results in missed opportunities or uneven pacing.

NACHO LIBRE earns its place as a cult staple rather than a full-blown comedy landmark. It is strange, occasionally frustrating, and frequently charming in ways that only reveal themselves with patience. At its best, it offers moments of genuine warmth wrapped in awkwardness. At its worst, it mistakes commitment for momentum. That balance lands it squarely in the middle of the scale; a film that does not always work, but never feels calculated or cynical.

For viewers who like Jared Hess’ directing style and sensibilities, NACHO LIBRE remains a singular experience. For everyone else, it is a reminder that comedy built on sincerity rather than immediacy will always be divisive, and that sometimes, being quietly endearing is enough.

Product Extras:
DISC 1 (4KUHD):
Brand New HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative
Audio commentary by Star Jack Black, Writer/Director Jared Hess, and Co-Writer/Producer Mike White
5.1 Surround and Lossless 2.0 Audio
Triple-Layered UHD100 Disc
Optional English Subtitles

DISC 2 (BLU-RAY):
Brand New HD Master – From a 4K Scan of the 35mm Original Camera Negative
Audio commentary by Star Jack Black, Writer/Director Jared Hess, and Co-Writer/Producer Mike White
Enter Sister Encarnacion: NEW Interview with Actress Ana de la Reguera
Detrás de la Cámara: Featurette (28:33)
Jack Black Unmasked!: Featurette (12:36)
Exterior – Hacienda – Night: Featurette (14:58)
Interior – Lucha Libre Ring – Night: Featurette (15:15)
Lucha Libre: Featurette (3:13)
Hencho en Mexico: Featurette (2:27)
Moviefone Unscripted with Jack Black and Héctor Jiménez: Featurette (9:12)
Jack Sings Behind-the-Scenes: La Cancion de Ramses
La Canción de Encarnación (6:17)
3 Deleted Scenes (9:12)
3 Promo Spots (1:33)
Theatrical Trailer (2:09)
5.1 Surround and Lossless 2.0 Audio
Dual-Layered BD50 Disc
Optional English Subtitles

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[photo courtesy of KINO LORBER]

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