
Flamin’ Hot
- Director: Eva Longoria
- Writers: Lewis Colick, Linda Yvette Chavez
- Starring: Jesse Garcia, Annie Gonzalez, Dennis Haysbert, Tony Shalhoub, Emilio Rivera, Matt Walsh
Grade: B-
2022 was the year of the miniseries and television show centered on infamous real-life grifters, ranging from the enjoyable to the forgettable. Whether it was exploring Elizabeth Holmes (The Dropout) or Anna Delvy (Inventing Anna) or Anna and Rebekah Neumann (WeCrashed) – plus an extra few that I’m likely forgetting – something compelled the television gods into telling these stories all at the same time. Now, in 2023, the focus has shifted to the true stories behind some of our most iconic brands and products. First it was Nike with Air, then Nintendo and Tetris, then BlackBerry. Naturally, the next in line would be the true story of *checks notes* the creation of the “Flamin’ Hot” varietal of Cheetos with Flamin’ Hot.
The film marks the directorial debut of actress Eva Longoria, and her stylistic flourishes indicate that, with the right material, she could make a great film. But Flamin’ Hot is not that film. It’s clear from the early going what drew Longoria to the material, but she’s working with standard-issue material, even within the above-mentioned films of the genre. The screenplay comes from Lewis Colick and Linda Yvette Chávez, based on the autobiography of the film’s subject, Richard Montañez. Richard, played in the film by Jesse Garcia, is indeed a worthwhile figure to base a film around. He’s a self-motivated SoCal Latino hustler by nature, who’s always scheming a way to get ahead, whether it’s in or outside the boundaries of the law.

It’s that latter part that lands him below water and prevents him from reaching his full potential, struggling to find work until he lands a job as a janitor in the local Frito-Lay factory. He has a congenial relationship with the foreman, Lonny (Matt Walsh), and finds a kind of mentor in Clarence (Dennis Haysbert), one of the engineers, despite the high school-esque social structure within the factory. Frustrated by his lack of career progress and the downturn of the economy in the Reagan years, Montañez searches for the one thing he can do that can change things for him and his family. He has the support of his wife Judy (a charming Annie Gonzalez), who’s stuck with him since childhood, when he gets the idea to develop a spicy varietal of snacks that would appeal to his Latino community. It’s worth noting that Richard’s primary motivation isn’t simply fame and fortune, but to find a way to uplift the surrogate family he’s found at the Frio-Lay plant.
Longoria keeps the film zipping along at an agreeable pace, rarely lingering on any particular development, but making it visually appealing. There’s a version of the film that could have interrogated the upward battle that Latinos had to navigate in Reagan’s America, or a half-developed subplot about Richard and his troubled relationship with his father. But Flamin’ Hot aims down the middle more often than not, and the end result is frustrating no doubt, but not enough to be upset. Whether the film is true to life or not, and there have famously been disputes about how accurate Montañez’s account actually is, it deserves credit for subverting expectations at certain points. Frito-Lay’s CEO, played by Tony Shalhoub, is a genial, helpful presence to Richard, as opposed to an overbearing obstacle that’s often seen in films like this.

Indeed, the film has elements that rival the flashiness and confidence of Air or Tetris but, just like those films, it’s undone by the inevitability of its premise. It is unfortunate that the overlords at Disney relegated the film to premiere on streaming and avoid any theatrical enterprise, but it feels strangely right to watch Flamin’ Hot at home. Much like every other streaming film, it can be digested easily while scrolling on devices – perhaps with a bag of its namesake snack – where it can be enjoyed and quickly forgotten.
Flamin’ Hot will be available to stream on Hulu and Disney+ on June 9.
OSCAR POTENTIAL:
- None. Disney/Hulu would fare better submitting the film for the Emmy’s Limited Series/TV movie category, where it could make some headway, though it would not qualify for this year’s awards.
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