The title Vino Para Robar could mean two things: (a) He/she came to steal, or (b) Wine to steal. Unfortunately, this seems to be the only spark of wit in Adrián Garelik's script. Plot holes are huge, and there are many; to mention one, a character that can only say one sentence in German (with rather strong non-German accent) passes himself off as a German (without even fake documents) with disconcerting ease. Conversely, plot twists that are immediately obvious to the audience (e. g. the substitution of bullets) are painstakingly explained. Daniel Hendler and Valeria Bertucelli are supposed to be master thieves, but their techniques (such as her gleaning of a code from a bank manager) seem to be contingent on sheer stupidity of their counterparts.
Acting is good, but there is not much chemistry between Hendler and Bertucelli; both have done much better jobs in other movies. Perhaps the only reason to watch this movie is the excellent cinematography by Ricardo DeAngelis; you get to see some of the most beautiful buildings in Argentina (such as the legendary Tigre Hotel, now converted to a museum) and some of the landscapes of Mendoza Province, with the spectacular background of the mighty Andes mountain range.
Acting is good, but there is not much chemistry between Hendler and Bertucelli; both have done much better jobs in other movies. Perhaps the only reason to watch this movie is the excellent cinematography by Ricardo DeAngelis; you get to see some of the most beautiful buildings in Argentina (such as the legendary Tigre Hotel, now converted to a museum) and some of the landscapes of Mendoza Province, with the spectacular background of the mighty Andes mountain range.