'Quinceañera' is stuck in familiar Hollywood formulas

At the start of "Quinceañera," 14-year-old Magdalena's (Emily Rios) big problem is having to wear her wealthier cousin's hand-me-down dress at her traditional coming-of-age 15th birthday celebration (the Spanish-language name for it gives the film its title). Soon, there's something muy bigger: She's pregnant. And still a virgin (it's complicated).

Sony Pictures Classics 'Quinceañera' C+ The verdict: A culture-clash drama that could use more clash. Directors: Richard Glatzer, Wash Westmoreland Starring: Emily Rios, Chalo González, David W. Ross, Araceli Guzman-Rico, Jesus Castanos-Chima Run time: 90 minutes Release date: August 4, 2006 Rating: R for language, some sexual content and drug use. See showtimes On the web Official movie site View the trailer    Trailers require Quicktime Rate 'Quinceanera'   Go see it   Make it a matinee   Wait to rent   Don't bother Voter Limit: Once per Hour View Poll Results

When her religious father kicks her out, she takes refuge with her ancient Uncle Tio (Chalo González), who's already sheltering her cousin Carlos (Jesse Garcia), thrown out of his own home for being gay. The property where Tio lives has new landlords, gay couple Gary (David W. Ross) and James (Jason L. Wood), who have an open relationship — and who quickly size up Carlos as one of the "cholos" they like to invite to bed.

Meanwhile, Magdalena hopes that her boyfriend Herman (J.R. Cruz) will do the right thing by her — and break the news of the pregnancy to his overprotective mother. And, when the news reaches others in the community, Magdalena learns who her real friends (and family) are.

At its best, the film dissects moments of hypocrisy and little emotional betrayals (between the gay couple, Magdalena and her boyfriend, and also among Magdalena's formerly supportive gal pals). But while "Quinceañera" clearly wants to make bigger statements — about the nature of family, and the culture clash caused by white/gay gentrification in poorer Hispanic neighborhoods — it never quite manages to do so.

Also, the characters can feel two-dimensional: the saintly uncle, the cruelly pious father, the casually predatory, materialistic gays. (Interestingly, the filmmakers, white, gay life partners Richard Glatzer and Wash Westmoreland, draw James and Gary as the film's least sympathetic characters.) After a point, the question arises: Are these character types, or stereotypes?

As it winds up with two ceremonies (one sad, one happy), you realize that, while pretending to break ground, "Quinceañera" is ultimately stuck in familiar Hollywood formulas. It's easy to understand why it won a couple of awards at Sundance — a festival whose jury sometimes votes for the good intentions of a movie, rather than for the movie's actual merit.