For his first film in nearly a decade, writer/director Gregory Nava dives headfirst into the seamy, sad world of young Mexican women and the murderous individuals preying upon them near the United States/Mexico border. It's a topic certainly worth exploration (the film begins with exposition and culminates with the chilling caption "inspired by true events") and one that seems positively ripe with dramatic possibilities. Yet, Bordertown, filmed in 2006 but only just now being released (straight to DVD) is a soap opera masquerading as a issue-driven thriller -- its stars aren't really engaged and the tendency toward sensational set-pieces undermines whatever points Nava is trying to make. This is, after all, a nail-biter that makes time for a Juanes mini-concert.

Jennifer Lopez, reuniting with her Selena director, stars as Lauren Adrian, a hard-bitten, ambitious reporter from Chicago, dispatched by editor George Morgan (Martin Sheen) to Ciudad Juarez, Mexico, where hundreds and hundreds of young women are being raped, beaten and murdered. Alfonso Diaz (Antonio Banderas), the local newspaper's editor and a former co-worker of Lauren's, is up to his neck in the investigation, fighting to keep the paper publishing while struggling to shed some light on a matter the authorities would much rather be ignored.

The pair soon become acquainted with Eva (Maya Zapata), a woman who was attacked but survived, the only victim Alfonso knows of to escape. Soon, Lauren and Alfonso find themselves protecting Eva and rushing to discover who is behind the killings, while avoiding the corrupt, brutal police at every turn.

Bordertown hurtles along, its plot inherently compelling even if those acting it out are not. Lopez, who continues a string of poorly chosen projects, is far from able to pull off seeming like an intrepid reporter, although Banderas is hardly better. While the film did shoot near Ciudad Juarez, lending the narrative a palpable authenticity, the people and surroundings are often treated like window dressing, something to be rushed past in order to get to the next confrontation, the next shouted exchange.

It's unfortunate that Nava didn't stop to revel in the details, embracing this -- for some -- exotic world and infusing this standard-issue "Law & Order" story with some real flavor. As it is, Bordertown hits all of the standard marks, with not much to show for it. The cast is mostly on autopilot, Nava's screenplay -- while noticeably tinged with appropriate amounts of outrage -- is the stuff of a dozen different procedurals and perhaps worst of all, the entire enterprise, ostensibly meant to draw attention to this heinous corner of Mexico, smacks only of exploitation by the time the credits roll.

Those intrigued to learn more about stopping the systematic rape and murder of these young women should take the time spent watching this film to visit Web sites such as www.amnestyusa.org or witness.org and learn how to help the real victims.

The Video:

The 1.78:1 anamorphic widescreen transfer often betrays its source material, high-def video, with plenty of motion blur and overly crisp detail. Saturated with a sickly yellow hue, the bulk of the film's scenes set in dusty, bustling Mexico, look like someone was a little overzealous with the filters. The imperfections are compounded by the numerous scenes transpiring at night, where digital video is notoriously hit-and-miss. The handful of scenes that take place outside of Ciudad Juarez are clear, but suffer from a lot of the same visual flaws as the Mexican scenes. Overall, Bordertown is passable, but only just.

The Dolby Digital 5.1 track gets a hefty workout, with numerous chase sequences and lots of atmospheric score filling in behind the rapid-fire, overheated dialogue. There are sequences in Spanish, but forced English subtitles translate the exchanges. An optional Dolby 2.0 stereo track is included, as are optional English and Spanish subtitles.

The supplements are mostly balanced between reality and filmmaking -- the 10 minute, 11 second featurette "Exposing the Juarez Murders: The Making of Bordertown" (presented in fullscreen) goes behind the scenes of Nava's film. The 15 minute, 55 second doc "La Frontera - The Border" (presented in fullscreen) explores the life of Eva Canseco, a real factory worker on the border; it's directed by executive producer Barbara Martinez Jitner. The 16 minute, 39 second featurette "Dual Injustice: Feminicide and Torture in Ciudad Juarez and Chihuahua" (presented in fullscreen) is an unblinking examination of the film's subject matter (it's also presented, separately, in a Spanish-language version). The film's theatrical trailer, offered in anamorphic widescreen, completes the disc.

Bordertown hits all of the standard marks, with not much to show for it. The cast is mostly on autopilot, writer/director Gregory Nava's screenplay -- while noticeably tinged with appropriate amounts of outrage -- is the stuff of a dozen different procedurals and perhaps worst of all, the entire enterprise, ostensibly meant to draw attention to this heinous corner of Mexico, smacks only of exploitation by the time the credits roll. Skip it.