Verdict:Todos los mexicanos somos mujeriegos is a confirmed FLOP based on our analysis of audience ratings and box office momentum.
With a rating of 3.8/10, it has delivered a mixed experience for fans of the Comedy genre.
Answer: Maybe not, Todos los mexicanos somos mujeriegos is likely a skip if you enjoy Comedy movies.
It features a runtime of 92 minutes and offers a standard storyline that appeals to general audiences.
Last updated: January 12, 2026
Released in the dynamic cinematic landscape of 2019, Todos los mexicanos somos mujeriegos emerges as a significant entry in the Comedy domain. The narrative core of the film focuses on a sophisticated exploration of A homeless man takes care of a junkyard where an accident vehicle arrives, under the seat there is a cell phone that belonged to the dead owner. Unlike standard genre fare, Todos los mexicanos somos mujeriegos attempts to deconstruct traditional tropes, offering a conventional take on its central themes.
The screenplay, appearing to prioritize narrative momentum and immediate impact, sets a stage where the stakes feel personal yet universal. Under the directorial eye of Enrique Murillo, every scene is crafted to contribute to the atmospheric weight of the story, ensuring that the Comedy elements serve the larger narrative arc rather than just providing spectacle.
The success of any Comedy is often anchored by its ensemble, and Todos los mexicanos somos mujeriegos features a noteworthy lineup led by César Bono. Supported by the likes of Radamés de Jesús and Maribel Fernández, the performances bring a palpable realism to the scripted words.
Performance Analysis: While the cast delivers competent and professional performances, they are occasionally hampered by a script that leans into familiar archetypes. However, the sheer charisma of César Bono, Radamés de Jesús, Maribel Fernández manages to keep the audience invested through the film's more predictable sequences. In the broader context of 2019 cinema, these performances stand as a testament to the evolving standards of acting within the Comedy space.
From a technical perspective, Todos los mexicanos somos mujeriegos is a marvel of 21st-century filmmaking. The cinematography, utilizing a moody and atmospheric color palette, significantly enhances the world-building aspects of the production. Each frame seems calculated to guide the viewer's emotional response, whether through wide, sweeping vistas or tight, claustrophobic close-ups that emphasize character isolation.
Technical Excellence: The production design and visual effects provide a solid foundation for the story, ensuring that the world of the film feels lived-in and authentic, even when the narrative logic falters. Furthermore, the sonic landscape—comprising both the score and sound design—adds a layer of subtextual narrative that rewards attentive viewers.
The structure of Todos los mexicanos somos mujeriegos follows a sophisticated brisk pace. Over its 92 minute duration, the film manages to balance exposition with action in a way that remains consistently entertaining. The second act, often the most difficult to manage, serves here as a crucible for character growth, leading toward a climax that feels both inevitable and surprising.
Critically, the editing choices by the team help maintain a narrative tension that rarely wavers. The sharp, concise editing ensures that not a single frame is wasted, making the film ideal for a modern audience that values efficiency in storytelling.
Beyond its immediate entertainment value, Todos los mexicanos somos mujeriegos resonates with contemporary social and cultural themes prevalent in the Comedy landscape of 2026. It addresses concepts such as the nature of heroism and personal legacy with a level of maturity that is often missing from major releases.
This cultural relevance is likely why it has garnered a 3.8/10 rating on our platform. Films like this bridge the gap between niche interest and global appeal, proving that stories rooted in specific human experiences can find a home with audiences worldwide, from the US and UK to India and beyond.
Analyzing the plot deeper, Todos los mexicanos somos mujeriegos is more than just its synopsis. It is an inquiry into the boundaries of human experience. A homeless man takes care of a junkyard where an accident vehicle arrives, under the seat there is a cell phone that belonged to the dead owner. Looking around, he finds that the deceased had an appointment with a high-society woman in the process. She pretends to be him to win her over, without thinking about the funny relationship that is coming.
The philosophical underpinnings of the third act suggest a worldview that is standard for its genre yet executed with high professional polish. This is not just a commercial product; it is a piece of art that invites discussion long after the credits have finished rolling.
In summary, our editorial assessment of Todos los mexicanos somos mujeriegos (2019) is overwhelmingly negative. With an audience rating of 3.8/10 and strong performance metrics in the Comedy categories, it stands as a highly recommended experience for genre enthusiasts.
Whether you choose to experience it for the stellar performances from César Bono, Radamés de Jesús, Maribel Fernández or the visual majesty of its technical execution, Todos los mexicanos somos mujeriegos is a significant contribution to the cinema of 2019. It represents the kind of filmmaking that movieMx is proud to champion—original, bold, and ultimately, deeply human.
Analyzing the audience sentiment, IMDb rating of 3.8/10, and global collection metrics, Todos los mexicanos somos mujeriegos stands as a challenging project for the creators. It remains an essential piece of the 2019 cinematic year.
Todos los mexicanos somos mujeriegos is considered a flop based on audience ratings of 3.8/10 and lower collections.
Based on the low rating of 3.8/10, Todos los mexicanos somos mujeriegos may not be worth watching unless you are a die-hard fan.
Todos los mexicanos somos mujeriegos may be available for rent or purchase on digital platforms like Apple TV, Google Play, or Amazon Prime Video. Specific streaming availability can vary by country.
A homeless man takes care of a junkyard where an accident vehicle arrives, under the seat there is a cell phone that belonged to the dead owner. Looking around, he finds that the deceased had an appointment with a high-society woman in the process. She pretends to be him to win her over, without thinking about the funny relationship that is coming.