Written by Markus Robinson, Edited Nicole I. Ashland
Markus Rating: 1 out of 5 Stars
Rated R For strong bloody violence throughout, language and some sexual content
Now playing at Century 20 Oakridge Mall in San Jose, California:
“Machete Kills” is the sequel to “Machete”, but is so poorly conceived it seems more like a straight to DVD “Machete” that would come seven or eight films down the line.
Synopsis: In this movie, Machete kills…again.
The reason 2010’s “Machete” worked, was the same reason a good joke works the first time you hear it. But if you tell me that same joke over and over again, with little to no variation, no matter how good it is, around the seventh or eighth time, I might punch you in the face out of sheer frustration. That’s what watching “Machete Kills” is like. “Machete” was fresh, funny and creatively pushed the satirical boundaries. All “Machete Kills” sees is director Robert Rodriguez reciting the same joke for 90 minutes. In other words, the forced racial slurs, the same grindhouse visuals (but with not as much nudity) and the Machete don’t text, tweet, or use any kind of modern technology joke scheme that we loved in the first one, comes off as tired in this soulless version of its predecessor.
Danny Trejo returns as Machete: The only thing “Machete Kills” has going for it is a curiosity factor, steaming from the star studded supporting cast and the ironic roles that they play. In saying that, the roles Mel Gibson, Lady Gaga, Damian Bichir, Amber Heard, Sofia Vergara, Charlie Sheen, Antonio Banderas, Walton Goggins, Vanessa Hudgens and Cuba Gooding Jr. play, while had potential, are utterly drowned out by this garbage story, visuals which were as played out as the premise and the sound of nobody in the audience laughing as joke after joke falls flat.
Final Thought: “Machete Kill” is indicative of the main reason as to why Rodriquez will never be the Mexican Quentin Tarantino. He has this tendency of creating these great ideas which he almost single handedly transforms into great movies, but then runs them into the ground with ill-conceived sequels, containing premises stretched so thin that they expose his once great ideas for how paper thin they truly were. Sadly, this sequel is no longer a satire on immigration, as much as it‘s an attempt to bill Machete as an ethnically charged superhero; which on paper seems like a grand ol’ idea, if only this movie didn’t appear to be such a slapped together money grab production.
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