Crox Alvarado Movies

The troubles facing a Mexican wrestler after he accidently kills an opponent are featured in this video. ~ All Movie Guide

The title character in Juan Colorado lives a life on the run from authorities who want him jailed for something he did not do. Soon he must decide to focus on the woman he loves, or sacrificing that love in order to even the score with those who have harmed him. ~ Perry Seibert, All Movie Guide

American "B"-movie mogul Jerry Warren can always be counted on to turn a cheap but fun horror import into a boring, unwatchable mess -- as proven by this tedious effort, originally produced in Mexico as The Aztec Mummy and later padded out with deadly-dull exposition. The original film is silly enough; the first of a popular Mexican series, it involves the awakening of the mummy Popoca to avenge the desecration of his tomb by infidels. As a cost-saving measure, instead of re-dubbing the Spanish dialogue, Warren added new scenes with American actors, who drone on about reincarnation and past-life regression and bring the action to a screeching halt. ~ Cavett Binion, All Movie Guide

This is a well-made religious film on the miraculous appearances of the Virgin of Guadelupe to a converted Aztec, Juan Diego, in 1531. The Aztecs had a temple constructed to the Earth Mother, Tonantzin on Tepeyac Hill when the Spaniards razed it to the ground as a part of their campaign to destroy the native religion. Six years after Quauhtlatoatzin was baptized with the name Juan Diego (played by Jorge Martinez de Hoyos), he was on Tepeyac Hill when a vision of Tonantzin/the Virgin of Guadelupe appeared to him, asking him to construct a church on the site. (Recent excavations show that this world-famous basilica is built over ancient ruins.) The Bishop refused to believe him. So on her fourth and last appearance to Juan Diego, the Virgin told him to gather some roses growing there (roses never grew on the hill, were foreign to this region), wrap them up in his cloak, and take them to the Bishop. When he did so, the roses came tumbling out of the cloak to reveal an imprint of the Virgin on the material. The cloak and its image are still on display in the Basilica today. ~ Eleanor Mannikka, All Movie Guide

In this Mexican horror outing, the sequel to 1963's Aztec Mummy, wicked Dr. Krupp busts out of prison and conspires to purloin a sacred Aztec treasure from an old temple. He manages to stay free and reach the pyramid, but unfortunately, he doesn't realize that the treasure is being guarded by the fearsome Popoca, an ancient Aztec mummy. As soon as Popoca pops out of his tomb, he locks Krupp in a venomous snake-filled room. ~ Sandra Brennan, All Movie Guide

The title of this grim Emilio Fernandez-directed character study translates to The Net. On the lam from the police, Antonio (Crox Alvaredo) and Jose Luis (Armando Sylvestre) find refuge in a friendly seaside village. The two fugitives set up housekeeping with their mutual girlfriend Rossana (Rossana Podesta). This set-up can't possibly last, and it doesn't. When Rossana indicates that she prefers one of the men over the other, it's the beginning of the end for all three. Well-photographed on location, La Red was one of Mexico's entries at the 1953 Cannes Film Festival. ~ Hal Erickson, All Movie Guide

Director Chano Urueta draws inspiration from the classic Mexican folk song about Pancho Villa to tell musical tale of romance concerning a privileged rich girl (Gloria Martin) who gives up her life of luxury to be with the famed Mexican revolutionary (Jorge Negrete). ~ Jason Buchanan, All Movie Guide

town for the express purpose of watching two suitors, Marcos and Hipolito, duel with one another for her attentions and amorous affection. So begins Raul de Anda's romantically-tinged musical western Yo maté a Rosita Alvírez (1946). Unfortunately, Rosa is also exceptionally naïve, little realizing that such rivalry can only lead to violence and tragedy - and when Hipolito catches Rosa trying to infuriate him by luring another young man into her clutches, all hell breaks loose. ~ Nathan Southern, All Movie Guide

The Mexican western Duelo en el Dorado was lensed sometime in the late 1960s. Luis Aguilar and Emilio Fernandez (yes, the same Emilio Fernandez who shot and killed a critic who'd carped about one of the films he'd directed) play antagonists who spend the film's running time at each other's throats-literally. One is a white settler, the other a Native American. The bone of contention is a white orphan, whom the Indian wants to adopt into his tribe. Duel en el Dorado is quite violent, but at least has the saving grace of solid story values. ~ Hal Erickson, All Movie Guide