Written by Robert Rodriguez and Alvaro Rodriguez. Directed by Ethen Maniquis and Robert Rodriguez. Starring Danny Trejo, Robert De Niro, Jessica Alba, Steven Seagal, Michelle Rodriguez, Jeff Fahey, Cheech Marin, Don Johnson, Tom Savini and Lindsay Lohan.
Three years after the drug kingpin, Torrez (Seagal), murders his wife and child, the one-time Federale, Machete (Trejo), is now a day-laborer, illegal immigrant in small Texas town near the Mexican border. He is tricked to be part of a set-up by Booth (Fahey), being hired to assassinate extremist Senator McLaughlin (De Niro). On the run and seeking revenge, Machete finds help in the guise of a resistance fighter Luz (Rodriguez), a troubled I.C.E. agent named Sartana (Alba) and his brother who is now a Padre (Marin).
After a brutal, action-packed prologue, Machete opens to a geek-filled credit animation sequence featuring photo-centric illustrations on the cast, starting with Trejo and Seagal. When Tom Savini’s name is splattered over the screen, the target audience knows what they’re in for; those not in the know are quickly caught up with the credits “And Introducing Don Johnson.” This is a very specific type of movie, it’s more than an over-the-top, gore-filled action flick – it’s a grindhouse picture, and proud of it. In the first ten minutes the audience has already seen multi decapitations, blood splatter and nudity for many modern R-rated Hollywood features. The movie screen practically winks and smiles as the credits end and the movie begins. It’s time to strap in and enjoy the ride.
Ethen Maniquis and Robert Rodrigues have mastered the “grindhouse” techniques employed with Rodriques’ previous effort, Planet Terror. Machete comes with the scratched print (however, much more subtle than present in the Grindhouse double feature in 2007), choppy quick-cuts and distinct retro camera angles. The dialogue is near perfect, even if it wanders into Eighties action clichés from time to time. While the action is modern, the pacing and character arcs are lifted purposely from grindhouse classics and stereotypes. Somehow, Machete is comfortable in its predictable script, like riding a favorite amusement park ride for the hundredth time. While it is never surprising, the film is thrilling and awe-inspiring with garish effects and outlandish spectacles.
Another quality that serves Machete well is character and this film is full of character. Trejo’s Federale is silent, honorable and confident. When he’s coaxed into joining a street-fight ring, he takes out his opponent without even throwing a single punch. Later he hands over the money he’s paid to take out the Senator to the Luz, leader of the resistance, so she can continue to help smuggle immigrants across the border. He also refuses to take advantage of Sartana when she comes on to him “under the influence.” However, when crossed, he’s one mean S.O.B. and will destroy anyone in his way. He chops, shoots, slices, dices, and decapitates mobster after gangster after hood.
Machete is also surrounded by a fantastic supporting cast. Cheech Marin plays his brother who also crossed the border into the same town; however, he somehow took up the cloth, becoming a Padre. Machete turns to him when things get their worse. Marin is given the best lines in the film and provides the film some of its most laugh-out-loud moments. He also gets to step up with a tense set of action sequences as he faces a band of vigilantes and, later, Booth himself. Jessica Alba portrays Sartana, the conflicted I.C.E. agent who believes the law is right, but doesn’t like sending her brothers and sisters back to the horrors they’ve worked so hard to escape. She sees much of herself in the Federale Machete. She also relates to Michele Rodriquez’ character Luz, who may or may not be the mythical She who protects the day laborers. Rodriquez may have been born to play Luz and is given one of the best character reveal scenes when she reappears into the storyline during the conclusion. They’re a strong group of appealing characters to root for.
Opposing Machete is an equally well designed batch of villians rarely seen on the big screen this year. Steven Seagal is the best he’s been in years as Torrez the drug kingpin. He’s sleezy, mean and bad to the bone: quick to judge, quick to act and quick to kill. Seagal wears the role like an old coat, sits back and becomes the role. He is also given one of the more outrageous death scenes ever. Don Johnson turns in a fun, rewarding performance as Lt. Von Jackson, a crazed vigilante leading a small army who hunt down and execute those trespassing across the border. Robert De Niro is fantastic as Senator John McLaughlin, the extremist Senator up for re-election. He really shines during the scattered re-election commercials seen throughout the flick: pure parody. Tom Savini has a minor, but memorable role as hitman Osiris Amanpour, hired by Booth to hunt down Machete and his brother, the Padre. But the film belongs to Jeff Fahey as Michael Booth, McLaughlin’s right hand man who is in cohorts with Torrez to control trafficking across the border. He even holds his own against the legendary De Niro in a performance that may become the most memorable role of his career.
In true grindhouse fashion, the violence is cartoony and absurd. The bloodshed is rapid-fire and kenetic - quick, gory and crazy. The effects are not as gruesome, however, as Rodriquez’ Planet Terror, or even the more recent splatter-fest, Piranha 3D. They server the film in an amusing way and provide a rhythm for the story to bounce along. If Tom Savini had made Tom and Jerry cartoons in the Eighties, this is what it would look like: flying body parts, bullet-ridden bloodshed and the hero swinging from intestines.
While the film remains larger than the sum of its parts, it struggles to become more than what it sets out to be, a grindhouse picture. At times it promises to become a bit more than that and uncharacteristically raises expectation above the exploitation. In the end it may disappoint slightly in that is never takes itself beyond what it could be. It may be a bit too comfortable in its own trappings, trappings it excels in no doubt. The film is fun, exciting, memorable and surprisingly charming; however, it could have used a bigger punch in its conclusion – at least as big a punch as it provided in the fantastic intro.
7 out of 10
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