Desperado.

Review #2415: Desperado.

Cast: 

Antonio Banderas (Manito "El Mariachi"), Joaquim de Almeida (Cesar "Bucho"), Salma Hayek (Carolina), Steve Buscemi (Buscemi), Cheech Marin (Short Bartender), Quentin Tarantino (Pick-Up Guy), Carlos Gomez (Memo "Right Hand"), Tito Larriva (Tavo), Angel Aviles (Zamira), Danny Trejo (Navajas), Abraham Verduzco (Niño), Carlos Gallardo (Campa), and Albert Michel Jr (Quino) Written and Directed by Robert Rodriguez (#1193 - Alita: Battle Angel, #1903 - From Dusk till Dawn, #2377 - El Mariachi)

Review: 

Admittedly, I wanted to Desperado for quite a while. I bought a DVD pack with it included a while ago and, well, it is time to collect. Robert Rodriguez followed El Mariachi (1992) with a television movie assignment that came out of the blue with Roadracers (1994)*. But here were are with his second feature film, a "Neo-Western action movie" once again. The movie was shot in late 1994 with a budget that was described as, well, adding a few more zeroes from before that was shot in the same place (Ciudad Acuña) as the first movie; as before, Rodriguez serves as writer, director, and editor. Sure, the movie had its troubles: the original cut was rated NC-17 by the MPAA due to the graphic violence that had to see a handful of cuts just to get an R rating, complete with taking out a shootout at the end that I think you will be curious about. When the movie was released on August 25, 1995 (the first of three Rodriguez-involved projects in a year next to winter 1995's Four Rooms, where Rodriguez directed one of the four segments and 1996's From Dusk till Dawn), the film was a general hit with audiences, and, well, there was eventually a follow-up film with Once Upon a Time in Mexico (2003). 

It is a nice movie for those who know what they are getting into with a movie that is more of a side-step sequel than anything, one that feels the need to see the last scene of the previous movie but with a different face this time around. Now it dwells on the idea that killing the killer wasn't enough to satisfy the fallen mariachi, now it rests to chop the head ahead of that guy too. For the most part, the movie is generally satisfying to those who liked the ambition shown in the other film without seeming like a product of compromises, which mainly means some energetic shooting and a few quick cuts to go with a slightly more packaged story. So yes, the adrenaline rush may not be for everyone, but it does have likeable folks to carry things for 105 minutes. Undeniably, Banderas has a gritty charm to make this character one worth searching further in how one could just slip into guns as if it was a rhythm to replace the one ripped from his busted hand. He clearly oozes the appeal that one could see a lover or a killer in the same breath without a false note detected because you roll with him and his baptism of fire that clearly needs the touch of people again. It helps to have Hayek (in her first key role in an American movie, after a good deal of telenovela appearances) generate just as much sensual appeal in curiosity at the idea of someone who isn't merely just a tool like other folks in the town but has their own sins just the same. Perhaps not surprisingly, their chemistry simmers quickly to the surface that is clear to root for and watch play out for all of the passionate strings you damn well know will be pulled. de Almeida (cast prior to shooting when Raul Julia died) is at least an adequate adversary to shoot for in clear-cut ruthlessness alongside wavering stability (note the sequence where he can't find his phone), at least until the movie makes its one turn of the screw that probably will strain at least one person's doubts. At least the supporting cast comes and goes for a few curious chuckles from Buscemi and the staging for the mayhem is worthy enough to make it look like the fights worth investing time in. Sure, the climax isn't played out to the whole bloody affair (instead having a few dark chuckles with the arrival (and departure of Gallardo and Michel Jr to the fray), but the slap-bang enjoyment of the film as a whole is consistent and kinetic enough to be satisfied with the movie reflecting the way the last one went: on the road but with company to travel this time around. As a whole, it is an improvement on El Mariachi with its general staging of action and all-around charm to ride the storm of doubt made by an up-and-coming director that is worth checking out.

Overall, I give it 7 out of 10 stars.

*Incidentally, because he managed to license music from Link Wray (it was cheap at the time), it played a tiny influence on Pulp Fiction (1994), because Quentin Tarantino saw Rodriguez using that music and got the idea to use Wray's "Rumble" for his film. No, really, you can read that and hear about "72 camera setups with a single camera in one day."

From Dusk till Dawn.

Review #1903: From Dusk till Dawn.

Cast: 

Harvey Keitel (Jacob Fuller), George Clooney (Seth Gecko), Quentin Tarantino (Richard 'Richie' Gecko), Juliette Lewis (Katherine 'Kate' Fuller), Ernest Liu (Scott Fuller), Salma Hayek (Santanico Pandemonium), Cheech Marin (Border Guard / Chet Pussy / Carlos), Tom Savini (Sex Machine), Fred Williamson (Frost), Michael Parks (Texas Ranger Earl McGraw), Kelly Preston (Newscaster Kelly Houge), John Saxon (FBI Agent Stanley Chase), Danny Trejo (Razor Charlie), Brenda Hillhouse (Hostage Gloria Hill), and Marc Lawrence (Old Timer Motel Owner) Directed by Robert Rodriguez (#1193 - Alita: Battle Angel)

Review: 

The vampire movie has many forms besides Dracula, but I am sure you already have figured that out. You could look at it from a number of ways, particularly in the 1990s, which saw films by Francis Ford Coppola (you know, that mediocre Dracula adaptation) and John Carpenter (Vampires). So yes, an action horror movie with Robert Rodriguez is certainly an interesting idea. This was the third feature film by Rodriguez as a director, who made his feature debut with El Mariachi (1992) that led into more success with Desperado (1995). The story was done by Robert Kurtzman (a co-creator of the KNB EFX Group, which was behind the effects of this film) while the screenplay was done by Quentin Tarantino (the third and last film he wrote without directing after True Romance (1993) and Natural Born Killers (1994)). Rodriguez and Tarantino, best friends since the 1990s, would collaborate with each other eleven years after the release of this film with the double-feature Grindhouse (Planet Terror / Death Proof). The film was followed by two direct-to-video sequels that were produced by Rodriguez, and he would develop a television series based on the feature in 2014.

Admittedly, the enjoyment of the film will depend on how big one is in a film that tries to blend action and horror with measured patience - it is action all the way, but at least the horror is fun. The first hour is all about the set-up in what you might see coming from the action cliches that Tarantino clearly has an interest in (he likened the film to The Desperate Hours (1955) but with a supernatural twist), complete with having a core group of characters that have useful rapport with each other. Watching a movie with killers that have a bit of charm does seem a bit familiar if you've seen some of Tarantino's work, but of course it also probably goes hand in hand with Rodriguez in terms of kinetic enjoyment (like many of his films, he served as editor). So yes, it is essentially like having a sandwich of two favorable elements packed together (say, peanut butter and jelly), if it works well for you, go right on ahead, because it will satisfy the B-movie dreams one could go for, complete with green blood splatter. It may be a movie of the macabre, but it is one with a good-natured smirk to things, which works just enough in trying to make one believe in the horror of a bar that offers both pretty women and vampires. This was the first major film role for Clooney, previously best known for his run on the TV series ER. He does pretty well here, wrapped in plenty of confidence and devilish charm that is interesting to see play out against both the action element and the eventual horror that clearly would suit him for future films. Tarantino must have been interested in following the tradition of other director-turned-actors like John Huston when it came to playing a role opposite Clooney. They share a decent rapport together in brotherly cohesion that holds enough weight to make him more than just being the lesser of the key quartet. Keitel makes it worth his while in reserved dignity in religious dilemma, but Lewis is the quiet leader in her offbeat charms that proves quite natural for all the turns required. The small moments with others is fun for those who like recognizable faces and names, such as Trejo (Rodriguez's second cousin), Savini & Williamson or with the triple cameos by Marin, which all have charm that invite a bit of imagination of their stories besides this one, and Hayek makes the most of her time on stage with allure - so yes, it is a fun little time for those into its spirit (oh, there are others who come and go like Liu or Saxon, which is whatever, and that is a sad thing from someone who digs Saxon but still thinks the movie is fine). The mayhem is plentiful that makes the 108-minute run-time go with clear enjoyment for making schlock to enjoy taking the cliches from the book and putting them in the grinder. You have a movie where a gun is on a man's crotch to go with brains being stabbed by a pencil and kids getting chomped by vampires - it all works out. As a whole, the action and horror elements done by Rodriguez and company make an interesting result, serving as a slightly more expensive B-movie that could please both genre lovers if in the right mindset for it.

Overall, I give it 8 out of 10 stars.

Cars.

Review #729: Cars.

Cast
Owen Wilson (Lightning McQueen), Paul Newman (Doc Hudson), Bonnie Hunt (Sally Carrera), Larry the Cable Guy (Mater), Tony Shalhoub (Luigi), Cheech Marin (Ramone), Michael Wallis (Sheriff), George Carlin (Fillmore), Paul Dooley (Sarge), Jenifer Lewis (Flo), Guido Quaroni (Guido), Richard Petty (Strip "The King" Weathers), Michael Keaton (Chick Hicks), Katherine Helmond (Lizzie), John Ratzenberger (Mack), and Joe Ranft (Red) Directed by John Lasseter (#440 - Toy Story, #441 - Toy Story 2 and #539 - A Bug's Life) and Joe Ranft.

Review
Yep, this one. I remember getting this a birthday gift when I was 10 or 11. This was back when I was just a kid, without much to worry about, as opposed to now. I remember that the movie was fine, and yeah, I probably liked it back then. Anyway...how is the movie for me after a few years passed me by? I suppose the movie's okay. But when held up to the standards that Pixar films had, it isn't as good, though I'd say the movie is at least passable enough. I am aware of the plot resemblance to the movie Doc Hollywood, but I was more focused on the anthropomorphic cars. Apparently, there are no humans, but the cars are fueled by other cars. Did the cars suddenly take over the Earth? And if so, did they...get rid of the humans? But regardless, the movie is well crafted in terms of animation and style. The cars are wonderful to look at, and it's obvious that the movie has a good deal of passion for Route 66, and it is at least entertaining enough. The plot has its cliches (the hotshot, the country bumpkin, the one with a secret, the hippie, etc.) and it is admittedly slightly predictable, but at least the movie doesn't drag on too much. It showcases what it wants and doesn't let itself linger too much. The voice cast is fine, and it seems the cars in Radiator Springs have a decent accord with each other, which helps make the movie feel more friendly. It's hard to say if the movie is more interesting with the racing or the town, but at least it never bored me too much. It's a movie that for all of its flaws manages to squeak out a passable experience, heightened for younger kids. And...then there was a sequel. I will deal with that shortly.

Overall, I give it 7 out of 10 stars.

Movie Night: Christmas with the Kranks.

Review #082: Christmas with the Kranks.

Cast
Tim Allen (Luther Krank), Jamie Lee Curtis (Nora Krank), Dan Aykroyd (Vic Frohmeyer), Julie Gonzalo (Blair Krank), M. Emmet Walsh (Walt Scheel), Elizabeth Franz (Bev Scheel), Erik Per Sullivan (Spike Frohmeyer), and Cheech Marin (Officer Salino) Directed by Joe Roth.

Review
It feels...not fitting for this film review to be the season finale of Season 1 of reviewing films here on Movie Night. Oddly enough, this film was based off a John Grisham novel, Skipping Christmas. Anyway, this film tries to sell us on the Kranks, and I personally feel the film makes the neighbors a little too crazy, as they just don't leave the Kranks alone. It's more fun to see the neighbors losing then to see the actual ending (The last few minutes tries to make Luther look like a jerk, who (of course) warms up but it feels like a cliche, which is full in this film) The film has decent acting, as Curtis and Allen work well together. But the film feels so...Off. It tries so hard to work everything up to be funny and heartwarming, yet the film just doesn't fall into place. You never feel like you should care at all about why they are skipping Christmas, because you just can't care about any of this. No one comes off as sympathetic, because no one seems natural in their motivations.

Overall, I give it 4 out of 10 stars.