The film’s action boasts some of the most sturdy, coherent direction to mark a giant-scale blockbuster in some time.
Whereas a single, stinging one-liner would have sufficed Tourneur or Lang, Miller’s overcompensating flood of pulpy dialogue only renders his characters flat and sans empathy.
In what sense, then, is Machete Kills not simply that: a cash-in sequel meant to make fast money?
The films that Robert Rodriguez emulates here are known for similar unexpected narrative turns, but the crucial value that he misses is their actual cheapness.
Besides a rigorously refined approach to critical judgment, Another Steven Soderbergh Experience offers numerous alternative suggestions about the trends of critical reception in film/media culture.
Instead of understanding the femme fatale as a genre staple, Grossman wants to dispense of the characterization altogether.