One thing about John Sayles: calling his films didactic or preachy seems like stating the obvious at this point, because that’s just kind of the way Sayles’ films are. From Matewan (1987) — a great film, but see it if only for the young Will Oldham — to Casa de Los Babys (2003), Sayles’ films may be complex and cross-sectional, but the big lessons at their cores are not. I realize I’m being willfully reductionist if I reduce a film’s moral to “We’re all connected” or “The world isn’t as black and white as you think,” but viewers of Lone Star (1996) or Eight Men Out (1988) — two very fine films — may agree with my assessment.
I think that’s just how Sayles rolls, and that’s fine with me; best get that out of the way. Amigo may be Sayles’ least commercial film in quite a while, probably as much as my favorite film of his, Men with Guns (1997), and I take that fact (along with the clearly shoestring budget) as proof of Amigo being a labor of love. (Do a Google search for “Sayles” and “uncompromising” and you’ll see what I mean.)