Javier

GUADALAJARA, Jalisco — Before the World Cup, critics and fans of the Mexican national team debated whether Javier Aguirre’s third stint as head coach was the right decision. Two games later, the coach has led Mexico to the tournament’s knockout round.

Thursday’s 1-0 victory over South Korea at Guadalajara Stadium made the World Cup co-host the first in the tournament to advance while also clinching the top spot in Group A with one group play game remaining. After South Korea’s goalkeeper fumbled a ball, Luis Romo scored the goal that gave the Mexicans six points and pushed them to the top of the standings.

El Tri will close out the first round against Czechia (6 p.m.) at Azteca Stadium on Wednesday.

During his post-match news conference, Aguirre spoke less about the result and more about the journey that led him to this moment. At 67 and having coached Mexico in three World Cups, he explained that his experience allowed him to approach a match he described as eminently tactical.

Mexico goalkeeper Raul Rangel reaches back to stop the ball from entering his goal during his team’s 1-0 World Cup win over South Korea Thursday.

(Silvia Izquierdo / Associated Press)

“I’ve always tried to get my team to play well and to help the players and the national team develop,” Aguirre said.

For the coach, advancing to the knockout round represents the culmination of more than three decades of work on the sidelines and the support of a group of players who rose to the occasion under the most demanding circumstances.

The coach also acknowledged that advancing to the next round has eased the tension surrounding the team after the doubts that existed before the World Cup. Without mentioning personal vindication, he noted that soccer tends to judge solely based on the most recent result.

“If you win, you’re the best; if you lose, you’re the worst,” Aguirre said.

Aguirre said he remains calm because he believes his approach to coaching hasn’t changed and that the team was rewarded Thursday night against South Korea in a match marked by limited space and a high degree of tactical discipline.

With qualification secured, Aguirre said he will not alter his soccer philosophy during Mexico’s final group stage match even though it no longer faces the pressure of securing a spot in the next round.

He said Czechia will enter the game with a different competitive need and a drive to advance, while Mexico will work to maintain a high level of performance that allowed it to record two consecutive wins and keep two clean sheets at the start of the tournament.

On the South Korean side, coach Hong Myung-bo avoided making excuses and focused his analysis on the play that decided the match. Although he explained that he had not yet reviewed the goal sequence in detail, he knew the team made a series of small errors in an area of the field where he had previously warned that losing possession could prove decisive.

Mexico goalkeeper Raul Rangel blocks a shot by South Korea’s Son Heung-min during the World Cup match on Thursday.

(Natacha Pisarenko / Associated Press)

The coach said that one of the central focuses of their preparation had been avoiding turnovers near South Korea’s box in the face of Mexico’s high press.

Myung-bo said that during the pre-match talk, he emphasized that the first 20 minutes would be crucial and believed his players had executed that part of the plan. He said that as the minutes passed, South Korea managed to create chances and was gaining strength until its critical turnover.

“After the momentum of the match shifted in our favor … both in terms of overall pressure and the play itself, we were able to create many opportunities,” Myung-bo said. “Although it ended up being a very frustrating match and we’re left with a bitter taste in our mouths over the lost possession, there’s no time to dwell on it. We have one last match ahead of us, so we’ll prepare well.”

Cape Fear,” premiering Friday on Apple TV, is a 10-episode limited series remake of a 1991 Martin Scorsese remake of a 1962 film adapted from John D. MacDonald’s 1957 novel “The Executioners,” and as in a game of telephone each subsequent version adds new material and moves a little farther from the original. (The credits to the series, created by Nick Antosca, note all previous sources and screenwriters.) Thirty-four years having passed since the last go-round, we are treated to such modern advances as catfishing, drones, deep fakes, social media and pushy true-crime podcasters.

In each iteration, a family is menaced by a recently released ex-con who blames one or more of them for his incarceration. Antosca fills his extra-long take on the material with complications and inventions; though the series is also chock full of borrowings from and allusions to its predecessors — you can hardly call them Easter eggs, lying there as they do in plain sight. (And sound: Bernard Herrmann and Elmer Bernstein‘s earlier scores share space with Jeff Russo’s new one.)

In every version, the antagonist is a now-charming, now-menacing psychopath named Max Cady (Javier Bardem), memorably played by Robert Mitchum in 1962 and Robert De Niro in 1991. In the novel and movies, Cady was serving time for rape; here it’s for the murder of his wife and unborn child, when new evidence suddenly springs him from prison after 17 years. We are invited to suspect this evidence from the very beginning, though this suspicion will itself become suspect. “Or is it?” is a question you’ll be prompted to ask through the series.

The objects of Cady’s slow-boiling vengeance — seemingly — are married lawyers Tom (Patrick Wilson) and Anna Bowden (Amy Adams), sharing the position previously represented solely by Gregory Peck and Nick Nolte in turn. Anna, who had unsuccessfully represented Cady, ironically works for an Innocence Project-type nonprofit, whose chief, Noa Toussaint (CCH Pounder), is only too delighted to fundraise on the back of Cady’s celebrity. Cady, claiming no hard feelings, insinuates himself into their world, apparently friendly, apparently helpful, so that it’s not always clear what’s sincere and what’s strategy. Is he a wolf in sheep’s clothing, or just a creepy, sometimes violent sheep? (“Killed his wife, didn’t kill his wife,” a minor character will volunteer, “he’s an arrogant bastard either way.”)

There are now two Bowden children in the picture, doubling earlier versions. Natalie (Lily Collias), Anna’s daughter from a previous relationship, is a good girl looking to go just a little bad, who feels unseen by her busy parents. Sad, sullen younger half-brother Zach (Joe Anders), unrecovered from a social media misstep, is acting more strangely than teenage boys usually do.

This is a cat and mouse — or cats and mice — melodrama, with customized stock characters given dark secrets and backstory traumas less as explanation than complication. (Good, bad, whatever, everyone’s got issues.) Cady, who has a prison-acquired brain injury — cue flashback, in black and white, naturally — suffers from headaches and hallucinations, reacting painfully to flashbulbs (a Chekov gun, I wondered?), seeing visions of his dead wife and son, whom he pictures grown. (He is sad about it, whether or not it’s his fault.) And is that masked woman in green he keeps seeing real or imagined?

On a nuts and bolts level, it’s all screwed together tight, even the pieces that stick out at weird angles. (Is there a reason to make Cady an apparently talented chef, other than to demonstrate his knife skills?) The actors fill their parts with feeling. Bardem gets the most, and most extreme attitudes, to play, whether cozying up individually to the Bowdens, threatening a groupie, undergoing a religious conversion, acting normal or being weird. Adams is low-key forceful as his primary opponent. (Tom’s comparatively weak character is underscored by his secret habit of microdosing LSD and a nothingburger flirtation with a colleague.) Collias is impressively real. The dialogue is well-crafted, the Southern atmosphere (Atlanta doubling Savannah, with Savannah here and there standing for itself) suitably oppressive.

Nevertheless, it’s fair to ask whether this story, even with its yards of extra material, could be told in under nine hours? The answer, most assuredly, is yes. And might it be better shorter? It might.

Not that I’ve ever been a fly on the walls of the executive conference or dining or washrooms where such deals are made, but I suspect the length has less to do with artistic necessity than A) the obscure economics of streaming and B) the not unrelated habits of viewers, who, to judge by questions I get asked, abhor a vacuum. A 10-episode series will put off the moment when they have “nothing to watch,” while the streamer gets to keep them in the ecosystem longer. “Cape Fear” is hardly the only series to which this applies. As I imagine the series will do well — mystery with a smattering of horror seems very much what the people want — more may be just the ticket for some people. Still, there’s a sense that the story has expanded to fill the space, with plotlines for all and crazy side trips (snakes! drugs!) in escalating levels of nuttiness.

That might be more feature than bug, but I can’t say I felt much of anything for the characters, or was concerned whether the Bowdens would emerge from their ordeals a stronger family. (Whatever the outcome, I’d say they have work to do.) Having been given only eight of 10 episodes to review, I’m interested, in a disinterested way, how this all will shake out, when the story finally moves to the Cape Fear River, and whatever final twists — that there will be twists, I am certain — an inevitably Action Packed Finale has in store.

Spanish actor Javier Bardem says speaking out against Israel’s genocide on Gaza has actually landed him more offers for work. Speaking at the Cannes Film Festival, he said he believes the global narrative about Gaza has changed.