With this sequel to his prize-winning independent previous film, "El Mariachi," director Robert Rodriquez joins the ranks of Sam Peckinpah and John Woo as a master of slick, glamorized ultra-violence. We pick up the story as a continuation of "El Mariachi," where an itinerant musician, looking for work, gets mistaken for a hitman and thereby entangled in a web of love, corruption, and death. This time, he is out to avenge the murder of his lover and the maiming of his fretting hand, which occurred at the end of the earlier movie. However, the plot is recapitulated, and again, a case of mistaken identity leads to a very high body count, involvement with a beautiful woman who works for the local drug lord, and finally, the inevitable face-to-face confrontation and bloody showdown. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
We need to remind ourselves that posing is not acting.
Besides that the rest of the film is a mess. Consider: Double barrel shotguns cannot fire three consecutive times. Bandera's sawed off double barrel inexplicably holds eight shells which are never seen ejected.
Silencers are worthless placed on revolvers.
Bandera's accent can drill through concrete.
It is axiomatic sub machine guns used by the bad guys always miss their target.
If the bad guy has a gun and the good guy doesn't, something will happen to bring the obligatory "mana-a-mano".
Cartoonish, underdeveloped characters.
Okay, so you have this weird guy throwing knives at you and he's managed to stick three blades in you. Don't bother pulling out of your pants your 9 mm pistol and shoot the guy hide behind a trashcan and wait for other bad guys to drive up out of nowhere and kill him for you.
As usual Hollywood depicts the racist stereotype of the typical small town in Mexico backwards, no police, violent, primitive, with women that are whores and men who are drug dealers.
Oh, but it's so hip!! Besides, it was directed by a "Hispanic".
Worthless stylistic crap.
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