ONCE UPON A TIME IN MEXICO Dir: Robert Rodriguez. Starring: Antonio Banderas, Pedro Armenduriz, Ruben Blades, Willem Dafoe, Johnny Depp, Salma Hayek, Enrique Iglesias Robert Rodriguez’s other two Mariachi movies (El Mariachi, Desperado) have both had two things in common – the flimsiest of plotlines and a huge amount of 18 Rated violence. So it’s more than a tad surprising to find that the conclusion to his Mariachi trilogy has not only a convoluted story behind it, but also only a 15 certificate. But those who fear that this may be Rodriquez’s equivalent of Army of Darkness (the third part of Sam Raimi’s Evil Dead trilogy) need not worry, this is as stylish, sexy and fiercely violent as the other two films, if not more so – certain scenes led to this film critic feeling a little squeamish, and trust me that never happens. How he got away with the 15 certificate is amazing, especially considering the body count in the film. The plotline only serves to make proceedings the more interesting too – whilst the other films have been straight forward action flicks with a hint of romance, this is deliciously convoluted, with just the right amount of exposition on hand to make sure you don’t get too confused. The film begins with Johnny Depp’s CIA Agent Sands looking for a man to help prevent a coup de tat which drug lord Barrillo and the mariachi’s old enemy General Marquez are planning. But well, without wishing to give too much away, it’s soon pretty clear than Sands can’t be trusted, and that the best made plans almost always go hideously wrong.
	Banderas has got mean and moody down to a tee here, turning in a performance which is a little one note, but which is so goddamn stylish you can’t help liking the character. But the problem the film has is that Johnny Depp’s just ridiculously good in this movie, playing an utterly bizarre character yet one who’s so seductive that you wish the whole trilogy had been about him and not Banderas’ mundane and mostly dialogue free Mariachi. Sand’s is a twisted, fucked up CIA agent, but you can’t help but admire him, especially as events come to a close. And here we get to the film’s biggest problem. With such a build up you expect fireworks of a Bonfire Night kind of standard, you want the whole film to be lit up with explosions, but the actual final face of between El Mariachi and Barillo is over so quick you really could blink and miss it. And then the characters walk off in to the sunset, leaving you wanting more even though it’s rather unlikely that Rodriquez will ever revisit these characters. But well, if you’re prepared to forgive this damp squib of an ending, you’re in for a treat here. Alex Finch. Comments?
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