Robert Rodriguez's Machete

The Lindsay Lohan from naked, nun. The Steven Seagal vs. Danny Trejo. The Jessica Alba Cop of Aliens revenger lop-sided, Michelle Rodriguez and Robert De Niro and populist senator killer, obsessed with the fight against illegal immigration. Images of a modern crucifixion, a mobile that comes out of vagina! Cut parade members on the screen, drugs, foreign, military, government, cars, chicks, sex and partying. The ultimate tragicomic surreal universe of Robert Rodriguez. Movie contrasts, that is possessed by the director's tendency to propagandize, not only rational imperative, but the impression is incumbent on persons and situations. The modern cult found King ... and render them all.

One thing made me understand that Rodriguez: Director, anything other than the trash, the b-movie, the gore disposal, remains out of the waters, simply because these are the limits. Here, all are confused and to highlight the style of the cult, to confirm that it is good, possibly the best at what he loves to serve. Burns, raise, sniffed the drug with cinematic passion within the hallucinations off. But extends the scenario, reducing everything fits in it, namely characters, action, comments and statements. Most importantly the enjoyment of this careful aesthetic creation. Why refuse to throw off the populist political ramifications of targeting, encumbered the cliché dialogs and predictable scenes of violence and reiterates, although with mastery, charm and fake doses, but no alibi. Alibi is missing from the characters, which limits their walls a miraculous city gore, which varies with the absurdity of people, leaving them to operate without substantial reason and fundamental motives.

The Machete is a tribute to anything erotic perversion and sin foul gave meaning to the `60s, essence and existence in contemporary cinema. Whatever be the film Rodriguez, whatever meaning you give to anyone, whatever represents the artist himself manages to bring the margin to highlight once again the personality, creativity, its artistic existence. Poses at the film press and logical structures with an outdated, dirty and decadent aesthetic intervention, based on the quip, from which emerge newest considerations focusing on illegal immigration. All work to redeem the preciousness of cheapness and decadence in the society. Even the repeated rings at the finale, the dominant visual fanfare and widely popular director of maniera, are there to remind us, in the extravaganza, something from the past. The Machete is a piece of the past. There is to restore in our minds what is loved and everything we love to hate. Reveals, however, the obsession that pervades the talented Rodriguez and never lets go one step further.