In the prolific career of Robert Rodriguez, there are the parents of Machete : From Dusk Till Dawn ( From dusk till dawn) and Planet Terror . Two films grindhouse version strippers and Grand Guignol, derived directly from the trunk of the cervical troublemaker Mexico (with the help of Tarantino for the first), knowing that it does pretty much everything in his films, music in assembly through course completion. Parentage is obvious from the first minutes of Machete : Series B, do you-in-here, for sure we were not lied about the cargo.
For technical reasons, or perhaps to allow a beginner to try his hand, he told co-directing a team accustomed to Rodriguez-Tarantino: Ethan Maniquis, (co-) editor of his other films. Coincidence or consequence, Machete happens to be well below the previous games ... Starting
generic cardboard and licked, the establishment of history leaves then break a topical issue: illegal immigration between Mexico and Texas. Rodriguez uses them to embroider a first frame around the fate of Machete, a former cop bulldozer condemned to wander the streets after a villain named Torres, played by Steven Seagal stiff and swollen, has murdered his wife and child.
On this tone, the first half of the film is an exhilarating concentrated reds of genre films, action and derision. Rodriguez and Maniquis are careful to introduce each character: De Niro Texas Senator racist and xenophobic, Jessica Alba immigration agent sexy, vengeful Michelle Rodriguez which it hides, Jeff Fahey and his look that kills mafia henchman of Senator ... What we blithely take for a few good dozen minutes, merely seeing the reds that puts us in the face, especially as found in good old Tronches outputs Planet Terror and One night in hell, like the amazing Tom Savini, a cross between a banker and a dentist biker mafia (and incidentally, former makeup artist Romero).
side action, it also starts strong: blades that slice, heads flying, fire burning, guts and boobs, interspersed with some funny dialogue, nothing best to put into their mouths, in other words. Yet once the sauce ready to take, so we looked forward to the ultimate deluge bourrinage that will lead inexorably to a conclusion in the form of warm outlet, the bellows falls ... If Rodriguez and his little buddy Maniquis great in action, it is different for dialogue scenes, which even if they are assumed redundant and as such, never the genius of an aimless 20-minute set directed by Tarantino. It wades serious about the last half hour, and strangely it comes to forget the second degree, which also seems to fade away by itself. Some characters are suddenly overshadowed, like Lindsay Lohan, sloppy and conducting a coming-out avenger as hackneyed as flawed, or Machete himself, few ubiquitous for a hero.
We were promised a final Dante, we will extract, or each villain has a right to its end at him another way to break a little more pace, already long lost.
In conclusion it is with unconcealed disappointment as we contemplate the credits scroll, with the feeling of having enjoyed that half of a film expected to be a messiah fendard culture grindhouse. We want a little Rodriguez to help keep as much chance of his side to come up with something just right, saying that instead of fiddling fun special effects, music and editing it might have done better monitor a bit more what matters in the first place ... that is to say its realization.
For technical reasons, or perhaps to allow a beginner to try his hand, he told co-directing a team accustomed to Rodriguez-Tarantino: Ethan Maniquis, (co-) editor of his other films. Coincidence or consequence, Machete happens to be well below the previous games ... Starting
generic cardboard and licked, the establishment of history leaves then break a topical issue: illegal immigration between Mexico and Texas. Rodriguez uses them to embroider a first frame around the fate of Machete, a former cop bulldozer condemned to wander the streets after a villain named Torres, played by Steven Seagal stiff and swollen, has murdered his wife and child.
On this tone, the first half of the film is an exhilarating concentrated reds of genre films, action and derision. Rodriguez and Maniquis are careful to introduce each character: De Niro Texas Senator racist and xenophobic, Jessica Alba immigration agent sexy, vengeful Michelle Rodriguez which it hides, Jeff Fahey and his look that kills mafia henchman of Senator ... What we blithely take for a few good dozen minutes, merely seeing the reds that puts us in the face, especially as found in good old Tronches outputs Planet Terror and One night in hell, like the amazing Tom Savini, a cross between a banker and a dentist biker mafia (and incidentally, former makeup artist Romero).
side action, it also starts strong: blades that slice, heads flying, fire burning, guts and boobs, interspersed with some funny dialogue, nothing best to put into their mouths, in other words. Yet once the sauce ready to take, so we looked forward to the ultimate deluge bourrinage that will lead inexorably to a conclusion in the form of warm outlet, the bellows falls ... If Rodriguez and his little buddy Maniquis great in action, it is different for dialogue scenes, which even if they are assumed redundant and as such, never the genius of an aimless 20-minute set directed by Tarantino. It wades serious about the last half hour, and strangely it comes to forget the second degree, which also seems to fade away by itself. Some characters are suddenly overshadowed, like Lindsay Lohan, sloppy and conducting a coming-out avenger as hackneyed as flawed, or Machete himself, few ubiquitous for a hero.
We were promised a final Dante, we will extract, or each villain has a right to its end at him another way to break a little more pace, already long lost.
In conclusion it is with unconcealed disappointment as we contemplate the credits scroll, with the feeling of having enjoyed that half of a film expected to be a messiah fendard culture grindhouse. We want a little Rodriguez to help keep as much chance of his side to come up with something just right, saying that instead of fiddling fun special effects, music and editing it might have done better monitor a bit more what matters in the first place ... that is to say its realization.
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Machete Robert Rodriguez and Ethan Maniquis - 1:45 - Released on 01/12/2010 at Sony Pictures
Machete Robert Rodriguez and Ethan Maniquis - 1:45 - Released on 01/12/2010 at Sony Pictures
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