As an avid guitarist, there’s a special place in my cold and shriveled little heart for the opening credits scene of Desperado. There are hundreds of popular movies about guitarists, some of which are really great (like Sweet and Lowdown and School of Rock) and some of which are really not (like Rock Star and Crossroads…wait, that’s the Britney Spears one). In the pantheon of Guitar Flicks — which, by the way, should totally be a genre on its own — Desperado might be close to the top, but it certainly isn’t the best movie available. Still, there’s something unique about the way Robert Rodriguez treats the guitar, and something especially mystical about that credit sequence.
Rodriguez’s entire Mexico Trilogy follows the same guitar-playing assassin, and there are probably arguments to be made for Desperado not even being the greatest entry in its own trilogy. While 1992’s El Mariachi was definitely improved upon in subsequent entries with the recasting of Antonio Banderas as El, Rodriguez’s debut feature still plays well as a standalone opener and a part of the larger trilogy. It’s without a doubt the most “realistic” depiction of a guitarist (at least at the beginning), and El’s attempt at finding a gig in the local saloon is probably one of the most gratifying scenes for any musician who’s spent time attempting the same.
Continue reading Desperado (1995)
- Daniel Craig has sustained an injury on the set of the new Bond film Spectre, prompting surgery and much nail-biting over whether the filming schedule will be delayed or compressed. Eon has denied that rumor. And besides, judging by last week’s trailer, we’ve no reason not to trust that Craig and Sam Mendes will deliver.
- Tom Hardy has let slip that he’s signed on for three more Mad Max films following Fury Road, which hits theaters next month. Bring on the Tina Turner cameo!
- Netflix has renewed House of Cards for a fourth season (surprise!) and their newest series Bloodline for a second season.
- Guardians of the Galaxy 2 starts filming early next year in…Atlanta. The plot will presumably see Groot and Co. honing their Deep South sensibilities. Karen Gillan’s Nebula is set to return, too, hopefully for a much larger role this time around.
Continue reading Film & TV News: April 6
Just by virtue of being a smaller, lesser-known project with a scrappy underdog mentality, Automata has an instant advantage over similar sci-fi dystopias of recent memory like Elysium, the Dredd remake, Oblivion and the godawful In Time. The comparison to Neill Blomkamp’s Elysium and his earlier District 9 is especially unavoidable, as the world-building employed here is every bit as important and every bit as impressive. This is a distinct Earth that’s very unlike our own, but it doesn’t take a second to get used to.
The credits sequence says it all, really: our ecosystem has crumbled and our atmosphere has become unbearable, and so the future humankind invents a whole host of technological solutions: mechanical “clouds” that produce fake rain and shield our planet, massive walls that keep the desert from encroaching upon our cities, and most importantly a vast array of “automata” – robot slaves who weld our machines, cook our food, wash our dishes and wipe our asses when we get old. The credits sequence already pulls a 180 on us, though, by depicting this future as the past. By the time the events of Automata take place, humankind is jaded to the wonders of these technological advances, and the automata themselves seem to have become a bit jaded too.
Continue reading Automata (2014)