Desperado (1995)
Directed by Robert Rodriguez
El Mariachi plunges headfirst into the dark border underworld when he follows a trail of blood to the last of the infamous Mexican drug lords, Bucho, for an action-packed, bullet-riddled showdown. With the help of his friend and a beautiful bookstore owner, El Mariachi tracks Bucho, takes on his army of desperados, and leaves his own trail of blood.
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What critics compared Desperado to
But in compressing Ender's journey aboard the battle school from six years into one, he's erased certain details along the way, such as how the laser tag matches inform the piloting of spaceships later on and exactly how Ender's dual-wielding Christ Pose of an Antonio Banderas impression circa “Desperado” singles him out for leadership qualities in one instant.
Entering from the shadows as the shadow itself with the best boot step sound effects since Antonio Bandera’s slow-motion jingling accouterments in Desperado, Batman’s fantastical specter is backed by his brutal physical kicks and fists.
It’s not the cars that are really wanted, it’s something in one of the cars—something involving the DEA and a Brazilian drug lord named Reyes (Joaquim de Almeida, Desperado).
Dom shows up, the heist goes wrong (the cars were seized by the DEA and several agents end up killed), putting them in the doghouse of corrupt Rio businessman Hernan Reyes (Joaquim de Almeida, portraying the same evil Hispanic he played in Clear and Present Danger and Desperado ), who wanted one of the seized cars because it contained a microchip that just happened to contain the location of all his ill-gotten money.
Butler too does have some great moments as John McLa… sorry Mike, rattling off ‘one liners’ (the best being “Let’s play a game of fuck off…you go first”) and dispatching henchman with the most brutal knife work since Danny Trejo’s great assassin in Robert Rodriguez’s Desperado.
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Geek) Knowles, Robert (Sin City/Desperado) Rodriguez.
Like Robert Rodriguez with his transformation of El Mariachi into Desperado, Ritchie has used the extra money to hire a few big name stars and to make the final product look more polished, but his overall approach has not changed.
He did it in "Desperado," that goofball remake of his own "El Mariachi" in which Antonio Banderas regularly killed dozens and dozens of Mexican bad guys in bars and you actually swallowed it.
Filmmaker Robert Rodriguez, whose claim to fame lies in creation of such violent movies as Desperado and From Dusk to Dawn, let his inner child run wild in writing and directing this espionage fantasy.
Written and directed -- startlingly enough -- by guns-a-blazin' Tarantino protégé Robert Rodriguez ("El Mariachi," "Desperado," "From Dusk Till Dawn" ), "Spy Kids" is a glossy, MTV-and-CGI modernization of the kind of throw-away adolescent caper matinees Disney used to crank out in the early 1970s (think "Candleshoe," "Escape to Witch Mountain").
That's not an entirely bad thing, but I was so impressed with how well crafted and written "Spy Kids" was, that what director Robert Rodriguez (“Desperado,” “From Dusk Till Dawn“) serves up for seconds feels rushed and not as clearly thought out.
It's a daring departure for the man who killed off hundreds in El Mariachi, Desperado, From Dusk Til Dawn, and The Faculty.
Spy Kids marks a shift in direction for writer-director Robert Rodriguez, the former whiz kid behind the ultra-low-budget El Mariachi and subsequent violent gorefests such as Desperado, From Dusk Till Dawn and The Faculty.
As entertainingly exaggerated popcorn-chompers go, "The Transporter" ranks not far behind the all-time action-camp champ like Robert Rodriguez's south-of-the-border shoot-'em-up "Desperado" and John Carpenter's "Escape from New York" and "Big Trouble in Little China."
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There’s a lot going on in director Robert Rodriguez’s (Desperado, Sin City) and co-screenwriter/producer James Cameron’s (Titanic, The Terminator) visually dynamic Alita: Battle Angel, an ambitious adaptation of the wildly influential Japanese Manga series conceived and written by author Yukito Kishiro.
He burst onto the scene with the micro-budgeted El Mariachi in 1992 and kept cranking out the hits, with gems like Desperado (1995), From Dusk Till Dawn (1996) and Sin City (2005) released to much acclaim.
Perhaps the tide will change as frequent mischief-maker Robert Rodriguez (Desperado) teams with technological innovator James Cameron (Avatar) to tackle Yukito Kishiro’s Gunnm for the first time in live-action as Alita: Battle Angel.
I'm a fan of El Mariachi, Desperado, and Sin City, and there's some fun early bits in From Dusk til Dawn, and his portion of Grindhouse is fine, but Alita is the work of a filmmaker who has not only dug deep to rediscover the brightest spark of inspiration and vision from his earlier work, but in fact has exceeded his own seeming potential.
But when Alita walks into a dive bar and essentially challenges a room full of colorfully weaponized Hunter Warrior robots to a massive brawl, suddenly the director is reinterpreting his old Desperado routine for a sci-fi epic, and it’s delightful.