New Reviews: Machete & The American

Hard Labor

As we head into the fall season of moviegoing, many label this as the time we start to get the avalanche of prestige pictures that are vying for Oscar attention. Clearly, this particular film probably isn't trying to be in that same class of films; nothing under the banner of a Robert Rodriguez production is ever going to come close to that, which is alright if only to be seen as a pulpy, carefree piece of entertainment. What I find most interesting about the film is that it's the second one to come out this year with Rodriguez's name attached, the first being Predators. Interestingly enough, both of these films suffer from the same positives and negatives.

Remember that fake trailer that was a part of the Rodriguez/Quentin Tarantino double feature Grindhouse? The one where Danny Trejo was a Mexican vigilante with a passion for wielding extra-sharp instruments? I do, but according to the box office receipts for that film, not too many others do. As it is, this is the feature film as promised from that fake trailer, where Trejo has the title character as a double crossed Mexican Federale who turns day laborer in the US. When he's commissioned to carry out an assassination against an anti-illegals, state senator (Robert De Niro), he's double crossed again. Now he wants to bring them all down.

Much like Predators, this film starts out quite well. I think Rodriguez, and his co-director and occasional editor Ethan Maniquis, creates a quick pace that is indulgent in all the right elements that were in the Grindhouse picture. There's plenty of over-the-top violence and glaring sexuality that puts a cheesy, ironic smile on your face. But as the film goes on, the cheesy tone starts to fade away, and the whole thing feels more labored as it progresses. The film runs out of steam and that fun energy get replaced with forced situations that exist only to get to the film's resolution. Even the big fight at the climax comes off less like an entertaining set piece and more like a poorly staged ripoff of the Anchorman fight. This is typical Rodriguez fare, but it feels like he's trying to blend the exploitation elements with the more straight edged action pieces from movies like the El Mariachi trilogy. It's a combination that doesn't always work.

Even if you don't know the name Danny Trejo, you've seen his world-weary face somewhere, and it's comforting to see such a dedicated character actor get a leading role that he is so suited for. He's obviously not going for an awards here, but his chops as a leading action hero is surely welcomed. The supporting cast pitches in somewhat, but some are more memorable than others. De Niro' crazy right-winger politician is a good showcase of what a phoned-in De Niro can add to a picture, Michelle Rodriguez as a resistance fighter puts in the right amount of edge to make her character intriguing, and Jeff Fahey as the villain who hired Machete is grandiose and flawed like all great Rodriguez villains are. However, Steven Sagal and Don Johnson and a Mexican drug lord and border patrol vigilante feel underwritten, along with Rodriguez regular Cheech Marin as a priest with a lot of guns. And Lindsay Lohan has a throw-away role as a drug addicted teen with daddy issues (what a stretch).

There is a lot of fun to be had in the film, but that mostly happens in the first half of the film. Soon the energy starts to drain and it all just becomes a labored effort for it all to end. But Rodriguez and company do their best to try to keep it somewhat afloat, and a talented cast tries to help as well. I don't think this has quite the epic and grand cinematic appeal that Grindhouse did, but it's got enough cheesy set pieces and ironic sense of humor to say it's worth a rental, probably with the same group of films that it mocks with a sense of lovingness.

B-

American Dreamy

I've commented before about how there's a certain ability in the persona that George Clooney posses that allows him to reach all different kinds of levels and manages to reach the adoring public. It doesn't really matter if he's doing minimalist, indie work or big budget blockbusters, there's something about him that always attracts attention to his projects. I find it strange that the marketing for this film almost speaks to the latter, but it actually delivers in the tone of the former. All in all, I still enjoyed the film on its own accomplishments.

Clooney once again has the lead role, here playing an assassin hiding out in an Italian town to lie low. While he's there, he still engages in some suspicious activity, now modifying a weapon for a guarded client. However, he also engages in two extraneous relationships, one with a curious priest (Paolo Bonacelli) and a local prostitute named Clara (Violante Placido), who offers him the promise of a stable life he'd love to have but his line of work would never allow him to obtain.

It doesn't need to be stated that Clooney is an extremely talented actor, and he's one that is able to convey so much by doing so little. Here, he's always presenting a character that never shows much on the surface but lets it be known that something deep and sullen hides underneath the brooding exterior. It's one of Clooney's more quiet roles, but it is one that is without no less depth and complexity to discover between the cracks. Placido is actually quite effective as the love interest that offers much to the relationship while also being easy on the eyes. Unfortunately, I think a language barrier ultimately hurts a bit of Bonacelli's performance, but there are stronger problems with his character than his acting.

Director Anton Corbijn's last film was the Ian Curtis/Joy Division biopic Control, a beautifully crafted tale that was enhanced by Corbijn's photography background. The tone in this film strikes similar chords, so much so that the plot takes a back seat. This isn't a film that concerns itself with plot; it's more about creating an atmosphere and mood around an intimate character study. In that respect, Corbijn pretty much sets in place a series of beautifully framed pictures that successfully create that mood. I'll admit that it only goes so far, particularly when the script ranges from the mediocre to the downright obvious and horrid, but I think Corbijn shows that he can be a major talent behind the camera, and I continue to look forward to what he can accomplish in the future.

This may not be the easiest film to get through, and if you're here looking for a high tension, mystery thriller, then you'll be disappointed and probably anxious throughout the whole thing. However, if you're in the mood for a deliberately paced, somber, atmospheric character study with an intense performance from a reliable leading man, then you'll be in for a treat. It's far from being one of the best of the year, but as another showcase to the range of Clooney, it gets the job done.

B