The sequel to Machete, Machete Kills just released its second trailer in anticipation of an October 11 release date. The B-movie of all B-movies seems to offer even more of what we've come to expect and love from Robert Rodriguez. This new trailer unveils a little more of the plot and reveals a few gems from the movie to get excited about.
A ringing phone gets passed from one woman lying in a bed, to another… to another, to… the President of The United States (played by Charlie Sheen, or as Rodriguez has appropriately re-renamed him, Carlos Estevez). We can only assume that this tequila-drinking womanizer of a Commander-in-Chief got some bad news on that call; a madman (played by Mel Gibson) is firing a missile at the Whitehouse. As the most powerful man in the world, he knows there's only one machete-wielding badass for the job: Machete (played by Danny Trejo).
Sounds like we’re in for a good'un. Here are the top three treats from the trailer:
IPhone SwitchbladeCan’t wait to see how he uses that one
Sofia Vergara's machine gun braHaven't seen firearms of this caliber since Austin Powers
"Machete don't tweet"#machetedonttweet is trending
So what can you do to prep for Machete Kills? Get your Pacificos, Coronas, and Tecates ready, because with the sequel to Machete also comes the sequel to the Machete Drinking Game. Steven Segal isn't in this one, and there probably won't be as many references to Grindhouse trailers, so you'll have to get creative… Luckily not too creative; stick with what you know. We're just shooting in the dark here, but if you take a sip of your cervesa every time someone dies, there's nudity, or Machete shares his disdain for technology, then you should be in for a good time. Please drink responsibly.
Don’t be too quick to think you know what will happen in this sequel though. Madman Luthar Voz (Gibson) claims to know Machete's every move, but Machete, always armed with a strong counterargument, rebuts, "Nobody knows Machete." We'll take him at his word and enjoy a slew of new and inventive ways of killing bad guys on October 11.
More:'Machete Kills' Trailer Goes Totally Insane'The Canyons' ReviewJennifer Aniston Strips in 'We're the Millers' Trailer
From Our PartnersBattle of the Bikini Bodies (Celebuzz)Complete Guide to Strippers in Movies and TV (Vh1)
Ralph Fiennes (the esteemed actor now best known for embodying Voldemort in the Harry Potter films) gave himself no small challenge for his first directorial effort. Coriolanus is a dense political Shakespeare play modernized by Fiennes and writer John Logan (Gladiator The Aviator Hugo) into a raw bloody war movie. The film maintains the play's original text a theatrical speech that manages to both heighten and impede the drama in certain instances. But Fiennes injects the material with unfiltered energy and even when the story is lost in its own intricacies it's visceral and commanding.
Presented against the nightmarish backdrop of "Rome " a Children of Men-esque land devastated by raging battles Coriolanus follows the troubled political career of Caius Martius Coriolanus (Fiennes) a general who fights resistance movements butts heads with local protestors and evades attack from influential statesmen. Martius is driven by one goal: to defeat his former friend and long-time nemesis Tullus Aufidius (Gerard Butler) leader of the opposing Volscian army. Rather than attend to the city's rioting population the general joins his military squad to breach the Volscian's walls in hopes of going mano a mano with Aufidius. Martius achieves victory after victory (without putting an end to his Aufidius troubles) becoming a hero to his government. Eventually through his overbearing mother's persuasion Martius is convinced to put down his semi-automatic and begin an ascent to political greatness. It doesn't go so well.
Even if the abridged version of Coriolanus presented in the adaptation was a slow-paced talky drama every detail of Shakespeare's complicated narrative may still be difficult to parse but Fiennes isn't looking to hold any hands. He shoots his movie with the kineticism of a Bourne movie or the recent Hurt Locker full of shaky cam movement and too-close-for-comfort close-ups. He uses the extreme presentation of 24 news networks to replicate in Shakespeare's expository asides while bombarding our senses. He has a cast who can deliver The Bard's poetic dialogue with a cadence that fits realistic setting. The sound and feel of the language is as important as the meaning.
Fiennes isn't as concerned with audiences registering every last minutiae of Coriolanus and he takes every opportunity he can to let his cast off their leash to dig into the drama's inherent intensity. The director/actor plays Caius Martius Coriolanus like a rabid dog—crazed behind the eyes and ready to unleash a barrage of hellfire and spit. Butler's Tullus Aufidius is a low-key foil but when the two finally butt heads neither gentleman holds back. The real stand out is Vanessa Redgrave as Martius' mother Volumnia whose hushed manipulation is even more terrifying than Martius' over aggression.
Coherence isn't the priority in Coriolanus and attempts to connect with the characters becomes a chore but Fiennes's first foray into directing is enjoyable in the exhilaration it delivers to a time-honored text. Forget your memories of 11th grade English—this is unique adrenaline-infused Shakespeare.
Nearly a century and a half after Alice’s Adventures in Wonderland first acquainted readers with the Mad Hatter the Cheshire Cat and the rest of the peculiar inhabitants of author Lewis Carroll’s fertile imagination filmmaking technology has finally developed the tools capable of properly rendering Carroll's exquisitely twisted world on the big screen. And who better to oversee the translation than Tim Burton Hollywood’s foremost mass-market purveyor of dark quirky fantasy? If there’s any director working today who can lay claim to Carroll’s creative inheritance surely it is him.
His creation Alice in Wonderland is fashioned not as an adaptation of Carroll’s two Alice-centered books but rather a kind of sequel to them its titular heroine (Mia Wasikowska) redrawn as the mischievous 19-year-old daughter of English aristocrats. Given more to chasing small animals than attending society functions Alice is the kind of adventurous free-thinking Victorian renegade who thinks nothing of drinking suspicious beverages found at the bottom of rabbit holes.
If only she were more interesting. Burton’s Alice isn’t so much a character as she is a tour guide leading us through the director’s $150 million museum of digital delights. Virtually everything on display in the film from the giant mushrooms of the Underland forest to the bulging eyes of Johnny Depp’s (literally) mercurial Hatter was either created or enhanced inside a computer presumably one with a direct connection to Burton’s cerebral cortex. (Interestingly the enhanced Depp bears a more than passing resemblance to Elijah Wood who the producers could have gotten for a lot less money.) Much like Alice herself it’s gorgeous to look at but never particularly engaging.
Were he alive today — and reasonably coherent — Carroll himself would no doubt marvel at the visual grandeur of Alice in Wonderland its CGI world as detailed and immersive as the most vivid of his migraine-induced hallucinations. But he might frown at the short thrift given to his characters. Esteemed cast members like Anne Hathaway (The White Queen) Crispin Glover (The Knave of Hearts) and even the mighty Depp can’t hope to compete with the beauty of their surroundings — instead of actors chewing the scenery the scenery devours the actors. (A notable exception is Helena Bonham Carter the cast’s lone standout as the screeching acerbic Red Queen.)
Alice in Wonderland is really designed to function as an inoffensive family flick and in that regard it boasts more than enough pretty fluff to keep the minds of most pre-teens occupied for the duration of a Saturday matinee. But afterward they might be hard-pressed to recount details of the story which involves Alice having to find a magic sword so she can slay a giant dragon and unlock the Legend of Zelda. Or something like that.
Filled with moments of fleeting exhilaration and empty whimsy Alice in Wonderland never really grabs the viewer in any meaningful way its overall experience more akin to that of a theme park ride than a movie. Which I half suspect was Disney’s intention all along.