WEBVTT

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Bless me, Father, for I have just killed quite a few men.

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No shit. From what I hear, you cleaned out the

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entire Tarasco bar. Nice job, asshole. Now you're gonna

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have every hitman in Coahuila looking for you. Things got out of hand. Couldn't avoid

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it. But I told you no more bloodbaths. I told you.

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Bucho is the last one. After him, I'm finished.

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No, I'm finished. They killed the woman you loved. Okay,

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then they shot through your hand, 2 points. Hey, wake up.

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There is no payback for that.

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Walk away. Trust me,

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this is one you're not going to want to see through to the end.

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What do you mean? Let's just say I've done some checking around

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and Butcho is not someone you want to mess with. Trust me on this.

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I cannot live without Butch. You don't expect to live much longer? Fine.

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I do. Seriously, you need any more help? Don't call me.

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Call your friends, Camper and Kino. They're crazy anyway. No, no, no, but I

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should be able to count on you. You. Those days are

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gone. Wait, hey. Come on. Good luck. Don't get shot.

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It's 2 Dads 1 Movie.

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It's the podcast where 2 middle-aged dads sit around and shoot

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the shit about the movies of the '80s and '90s. Here are your hosts,

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Steve Paulo Hello everybody,

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welcome to another episode of 2 Dads 1 Movie. I'm Steve. And I'm Nic.

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And today we are talking about the 1995 action classic

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Desperado from Robert Rodriguez, who was one of these kind

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of early to mid-'90s auteurs that kind of came out. We saw last

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week, we watched Clerks from Kevin Smith, which is very similarly kind of that thing.

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And of course, there's Quentin Tarantino and Richard Linklater, and I'm sure plenty that I'm

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forgetting. Um, but yeah, this was, this was Rodriguez's kind of studio

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debut. Yeah. After doing El Mariachi in '93. So, uh, this was

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for 2 Dads 2 Decades. So this was our '95 pick, and Nic, you picked

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it for us. So tell us a little bit about your history with Desperado.

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Yeah, uh, this one caught me at the right time, I think,

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uh, catching it, you know, when we're talking about all these movies,

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blockbuster era, right? And so it came out in '95. I,

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I definitely didn't see it in the theater, but saw it like as it was

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released on video, and it was definitely one of those, dude, look how cool this

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is. It's great. He's got 2 guns at once. Like, this is part of

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the 2 guns at once craze that we've really never left. Yeah, right. And,

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uh, and it just felt so cool and it felt so different.

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Like, there was just a real mood to it at the time, and I thought,

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oh man, this is what cool guys do. This is how— look at this chick.

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Yeah, that's because he's so cool and all that stuff. Um, and,

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and I haven't watched it since then, and I haven't revisited the movie,

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so I thought it'd be fun to talk about and see, like, is it still

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cool? Does it still, you know, or does it seem stupid? Because sometimes you watch

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these things, you're like, oh my God, I can't believe I thought— like, Roondog Saints

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or something, like stuff that it's like, oh Jesus. So,

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uh, yeah, and I thought this one would be fun to chat about. And we

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haven't seen, you know, getting— like you said, getting into some of these very important

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directors of the era. Like, it's good to get some Robert Rodriguez in the mix

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because I don't think we're gonna do Spy Kids. No, no. But I mean,

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From Dusk Till Dawn is a likely candidate, right? And but in a lot of,

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a lot of Rodriguez's great stuff too was in the early 2000s. You know,

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I think that's when like Planet Terror was. And obviously then the, this Desperado

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is the second film in the El Mariachi trilogy, right? El Mariachi

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'93. This was '95. And then Once Upon a Time in Mexico with Ben Darius

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and Johnny Depp was in like, I think '03 or something. So not, not in

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our categorization of films we'll cover, but this was just something

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to know that this was, this had both a prequel and a sequel.

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So yeah, that's cool. I, for my part, I saw El Mariachi in college

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when I was an insufferable film student. Nice. And had to go back and watch

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like all the, you know, I mean, I was already really well familiar with like

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Tarantino and Smith and Linklater and was like, well, I got to, you know,

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this is like, this is, this is the group that is mimicked

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by or is a mirror of the 1970s when like Spielberg,

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Scorsese, Coppola, and De Palma were all kind of coming out and like,

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you know, this wave of American auteurs. Yeah. And I don't— I think

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history has borne out that no, Tarantino, Rodriguez, and Smith and Linklater were not Scorsese,

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Spielberg, you know, De Palma, and Coppola. But I mean, I mean, you know,

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Tarantino certainly has had— yeah, I mean, a run of really good stuff.

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Yeah, for sure, for sure. But maybe not quite to that level. So yeah,

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so I saw El Mariachi. I never saw Desperado, and I'm not even really sure

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why. It just kind of never caught me. I wasn't as big a fan of

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El Mariachi as I was of like Reservoir Dogs and Pulp Fiction. So I think

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I just kind of gravitated in this style of

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like '90s American cinema. I think I just was pulled more towards Tarantino than Rodriguez,

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you know. Yeah, so I thought it'd be really I'm, you know,

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happy to see it. Um, have not seen Mariachi since college,

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so I really don't have a lot of frame of reference. A lot of this

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felt very familiar. Yeah. Uh, I don't know as much if

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like exact— I kind of want to go back and watch Mariachi now because I

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don't know if it's like exact set pieces were taken or if it was just

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the feel of a tragedy has occurred, he's hunting down the killers, you know,

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kind of thing. Because the Mariachi, there's the, there's the, there's the mistaken identity part

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of it as well. So there's, it's like a different story, but a lot of

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this felt very similar. to that movie. Yeah, I mean, it is just

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generally— we'll get into it, but it's kind of hard to tell like what's a

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flashback and what's not because it's generally the same kind of shit happening,

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right? Yeah, for sure. Um, yeah. All right, good. I'm excited

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to chat then and excited that you got to see it finally. Yes, yes,

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me too. Let's jump into the facts on Desperado. All right, the film

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Desperado was released on August 25th, 1995 with an R rating

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and a running time of 104 minutes. It was written and directed

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by Robert Rodriguez. It stars Antonio Banderas, Salma Hayek, and Joaquín Dalmaida.

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On Rotten Tomatoes, it scored 71%. On IMDb, a 7.1,

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both respectable scores. It gets a thumbs up from Gene Siskel, but a thumbs

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down from Roger Ebert. Let's see, awards. It didn't win

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any that I could find, or at least that were kind of worth mentioning,

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but it did get nominated for 2 1996 MTV Movie Awards,

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which is one that we do pay attention to fairly often. Antonio Banderas

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was nominated for Most Desirable Male. He lost to Brad Pitt

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in Seven, which I get it.

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Total argument. Easy argument to make. Yeah, romantic movies.

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See, that's what I'm getting at. Yeah, they're both hotties, whatever. They're handsome,

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good-looking, right? So I totally get the idea like, well, is it Pitt or Banderas?

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Like in a vacuum, that's a great argument to have, right? But Banderas

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in this movie versus Pitt in Seven is mind-blowing.

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It's crazy because Banderas is like playing the sexiest version

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of Antonio Banderas in this movie. And Brad Pitt is not in Seven.

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So, but it gets better because this film was also nominated for Best Kiss,

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obviously between Banderas and Salma Hayek. Okay. But the winning kiss

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was from the movie Species when Natasha Henstridge pops her tongue back

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through the back of the guy's skull. That won Best Kiss that year. So respect

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to the voters, honestly. I mean, that's what the MTV Awards are for,

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right? Fair, fair. And it was maybe a more impactful kiss. I suppose it was

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certainly impactful for the character whose brain was then on the floor.

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But at least Best is like, you can translate that however.

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Best kiss could be the coolest. So that's fine. But the most desirable

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male is very clear. And that's so weird. And so separate.

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Those awards at the time also had— they would have most desirable male,

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most desirable female, and then best male performance, best female performance, where they

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were doing more of the let's reward the acting versus just like,

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hey, that's a hottie, right? Kind of thing. Yeah. Hit and Seven. I don't know,

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man. That is some wild shit. I also don't know how those— I never like

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voted. I don't know if it was like a Teen Choice type thing where people

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voted on the MTV Awards. I never did growing up, so I don't know.

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I think it might've been a phone vote thing, but— Yeah, where you got a

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dollar for the first minute, you know? Right, right. All right,

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for this movie, Robert Rodriguez had a budget of $7 million, almost exactly

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1,000 times more than what he spent to make El Mariachi, which was

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made for just about 7 grand. Wow. And at the box office, it pulled in

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$25.4 million, 3.6 times what it cost, a bona fide hit, no denying

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it. So those are the facts. Desperado. And Nick, you brought

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this to the table, so why don't you kick off? How does this movie open?

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What are we looking at? So, so we get a cold open here. Yes,

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and we love a cold open. Really good, one of our favorite things.

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Um, and we've got, uh, Steve Buscemi's character who walks into this bar,

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and it's this very, you know, classic like Wild West,

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like dirty, dusty, rough and tumble kind of bar.

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And he stomps out his cig and he gets up, and he's, he's very,

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um He doesn't belong there. He very clearly doesn't belong there.

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And he is not concerned really about what these guys think of him or anything.

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Like, he's very confident and stuff. They're kind of put off by him. But he

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goes in and starts telling this story and he's, you know, like, I'm actually lucky

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to be alive and starts telling this whole story about at this other bar he

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was in, in another town, the biggest Mexican I've ever seen walks in.

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And, you know, his face is always in the dark and he's very mysterious.

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And then just you know, slaughters everyone. He's looking for this guy named

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Bucho, and he, and he kills everyone, right? And,

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and it's kind of cool as he's telling the story, we get little shots of

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him, you know, with these ridiculous guns. The guns that they— that he has

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are very nice. It's like there's almost a steampunk element to like how

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big that stuff is. There's like a— it looks

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like a pistol shotgun with a like— yeah,

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the kind of barrel. Yeah, just crazy work. I love—

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I love Buscemi's character here, which by By the way, I had to look it

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up because I didn't think anyone ever referred to him by name in the movie,

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but he's credited as— the character's credited as the name Buscemi, which is

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interesting. I'm not really sure if Rodriguez has never named him or what, but like,

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but, but that's the character name officially. Um, but he is— he

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walks in and he puts his cigarette out on the floor and he stomps it

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out for like 30 seconds. Like he's just grinding it into the floor and it's

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attracting all this attention because it's like, you know, whatever. And it's— he's so good

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at grabbing the entire bar's attention. 'Cause he goes up to the bar and he's

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talking to Cheech Marin, who's playing the bartender, who's credited as Short Bartender,

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which I'm sure he appreciated. But, you know, so he starts telling

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the story. And, you know, initially these guys are like, you know, fuck this gringo.

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They're looking at him like, might as well slit this guy's throat. Like, look at

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him, right? Whatever. But he starts telling the story and they want to know what

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he looks like, right? This guy that he's describing. Well, what did he look like?

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What does he— and he's like, did you see his face? Like, no. I saw

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his eyes. You know, and it's like really good stuff. And every once in a

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while he goes, you know, this place is filled with just the worst pieces of

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shit, real world-class turds. And then he looks and goes, Not like

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you find gentlemen here. Class actually have in this bar. I did love the world-class

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turds. Yeah, world-class turds. That's a great line. That is good shit. Yeah.

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And when he's telling the story is basically that El Mariachi comes in,

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he kills everyone in the bar, and at the end walks up to the bartender

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and he paid and left. And Cheech Marin's like, hey, so the bartender lives,

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eh? It's like, not so fast. And then, you know, of course

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in the story the bartender gets shot in the head.

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Right. Um, really funny. Uh, so yeah,

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so we end up with him scaring the shit out of all these people because

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he knows that they're, you know, Bucho, this might be one of his controlled

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areas, and he's getting the word out and everything. So these guys are fucking spooked

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and they're just like, yeah, I'll give you beer, like you can do it for

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free if you tell me what he looked like. Exactly. He's like, you know what,

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man, I'm out of here. I think he's headed this way. Yeah, yeah, yeah.

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So really cool way to open the movie. Absolutely. And then we get the,

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the, uh, the credits kind role after this, but it's like clear in a moment,

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like I'm just gonna jump ahead a second, but he's like on a fishing expedition.

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You know, he's there to see, you know, does, is this a Bucho-aligned

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bar? How do they react to me saying that name? 'Cause he's right, as soon

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as he said that name, that's when everybody turned. That's when everybody went from fuck

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this gringo to, oh, we better pay attention to what this guy's saying 'cause this

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sounds important, right? And of course, El Mariachi himself is a legend.

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It's, you know, he's a bit of a Baba Yaga, boogeyman, John Wick kind of

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thing going on. Among the drug cartels in Mexico at the time,

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right? That's the idea here. But part of the opening credits then

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is our hero, El Mariachi, singing in a mariachi band,

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right? And kind of whatever. And I recognized the songs like, ay, ay, ay,

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ay, ay, ay, mi amor. And I was like, oh cool, this song.

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And I had no idea this song was written by Antonio Banderas

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and Los Lobos for this movie. Oh, that's funny. It's called Canción

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del Mariachi, and it was written by Banderas as a co-writing credit with Los Lobos.

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And it was made for this song. And to me, I thought this was like

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a classically historic mariachi tune or something. Not that I'm super familiar

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with mariachi music, just to be totally clear, but it's just something that I'd heard

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so many times. Yeah, it sounded, I mean, it's very well done. Sounds classic.

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It really does. It's a really great song. But in this dream sequence, he's playing,

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and then he sees a guy start to mess around with a girl over on

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the side of the bar and pull a knife on her. And he basically walks

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across the bar, cool as shit. You're talking about being so cool. Guitar solos his

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way over to this guy. And that wonderful sort of, you know,

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Tejano Mexican and Spanish sort of tinkly guitar sound.

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It's so cool. And he just slams the guitar like neck and

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head against this guy's face. Everybody cheers. And then I love to— he

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gets back to the other two, his little trio, and, uh, he kind of wipes

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off the, the head of the guitar. There's so much like very cartoonish bloodletting

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in this movie, which is great. Like, it fits the theme and the sort of

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style significantly. And again, another thing I think that lines Rodriguez

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up with a person who obviously was a close personal friend of his, Quentin Tarantino.

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The sort of, you know, the way blood spurts in this every once in a

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while made me think immediately of like Kill Bill. Yeah, it was very, very that

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style of like the cartoonish bloodletting. Definitely. And, and this bar,

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uh, that they're— it's like a dream sequence that they're performing

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in— is— does not look anything like the bar that Boucher was

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just in, right? This looks almost like a bar that, uh, Dalton would have been

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working in for 6 months because it's been cleaned up and there's neon lights and

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all this stuff and everything. But after he takes this guy out and they finish

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their performance, then we get like what sounds like a slow clap, but it's a

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guy like packing his cigarette pack. And he is the least intimidating

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looking guy I've ever seen. I mean, I was just like,

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this fucking pussy, really? Like, come on. So it's the villain from El

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Mariachi, the same actor. And, and it's— you got to think about who the actors

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that would have been available to Robert Rodriguez in Texas in 1992 for

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7 grand for a whole movie, right? So, but it is the same guy.

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What could he put the people— because I think El Mariachi is one of his

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friends later on. Uh, Kino are also right from the first So

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yeah, but he comes in and he does what— there's a few moves in this

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movie that I haven't seen in other things that really just, uh, absolutely tickle me.

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I like him striking a match on his henchman's face to light

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his cigar really good, or to light his cigarette. Yep. Um, yeah, so what he

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ends up doing right before he wakes up from this dream sequence is he shoots

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Banderas in the hand, right? He flashes to this guy has killed

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his woman basically, and he shoots him in the hand, right? That's sort of the

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punishment he, he was able to, you know, like he can't play guitar

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anymore because he's being punished by being shot in the hand, not just killed,

14:33.934 --> 14:36.457
kind of thing. So yeah, so, and then, you know, he kind of wakes up.

14:36.521 --> 14:39.563
This has been a dream. He's sort of— because he's remembering back and he wakes

14:40.063 --> 14:42.635
up, and then Buscemi, you know, knocks on the door. And I love the,

14:42.748 --> 14:45.153
you know, the exchange, like, who is it? He's got the gun. It's the only

14:45.170 --> 14:48.960
friend you've got. Which is like good, good, good character work

14:49.090 --> 14:52.494
in one line for Buscemi there. But basically tells him, I've found the right bar.

14:52.704 --> 14:56.061
Yeah, like, this was definitely the right part. They reacted. Buscemi, the way

14:56.190 --> 14:58.995
that he is, it's so much more effective to have him in there than a

14:59.495 --> 15:03.034
guy who maybe seemed more like Texan or someone who like

15:03.179 --> 15:07.529
lived in Mexico. Like, he's so out of place. His voice is so specific.

15:07.594 --> 15:10.692
Like, it's, it's really great to have him in. Absolutely. Yeah, he's great.

15:11.527 --> 15:15.187
Yeah, so, so he's like, you know, walking to the next city.

15:15.235 --> 15:17.820
That— yep. And he's on his way.

15:18.430 --> 15:21.641
We've got Bucho now. We kind of flash over to Bucho, and Bucho's

15:22.141 --> 15:25.782
like the cartel boss type dude. Yeah, yeah. This is Joaquim Dalmeda, the other kind

15:26.282 --> 15:29.073
of— yeah, star, I guess. Yeah, he kind of has like the Ellis from Die

15:29.089 --> 15:32.664
Hard look a little bit, like that kind of beard but not kept

15:33.164 --> 15:36.477
too long, kind of cool guy look. And, uh, another thing that I love

15:36.574 --> 15:39.952
here is you got the bad guys, you gotta have your henchmen practice on each

15:40.452 --> 15:43.843
other in a very rudimentary fighting pit. Yes. So he's got like spikes

15:44.343 --> 15:47.930
and shit all over. He's running like henchman auditions here in

15:47.962 --> 15:51.444
the fighting pit and ends up being like, oh hey, we got

15:51.944 --> 15:54.182
this new kid, you know, he's training against one of our guys. Like, oh,

15:54.198 --> 15:56.434
that guy sucks, put him against our best guy. If you can beat him,

15:56.467 --> 16:00.050
he's in. And then there's just kind of a weird fight scene where he's getting

16:00.083 --> 16:03.518
the absolute shit beaten out of him. Bad. Yeah. He's not

16:04.018 --> 16:07.163
really hitting back at all. He gets his shin broken in a really brutal way.

16:07.323 --> 16:10.406
It looks like— yeah, like a compound crack in half, right? Completely.

16:11.144 --> 16:14.050
And then somehow does a jump kick that kills the other guy,

16:14.195 --> 16:17.422
right? Like with the broken leg. Yeah. Like the broken leg,

16:17.438 --> 16:20.970
you get a little warm up from whipping it. Yeah. It's like a little whip

16:21.099 --> 16:24.534
action. That loose shin that's sort of floating in space becomes

16:24.566 --> 16:27.638
like, you know, the end of a mace. Or, or a, you know, ball and

16:28.138 --> 16:30.225
chain kind of thing. And he smacks him. I don't know if he actually killed

16:30.725 --> 16:32.860
the other guy, but he does say like, well, there goes Costas, or whatever that

16:33.360 --> 16:36.042
guy— Christo, whatever the guy's name was. I feel like anytime somebody has blood come

16:36.139 --> 16:38.785
out of their mouth and then they fall on the ground, that's a dead person

16:38.834 --> 16:41.561
as far as cinema goes. Yeah, that certainly happened to, uh,

16:41.932 --> 16:44.610
who's— we got Rocky IV, we got Menace to Society, we got a lot of

16:45.110 --> 16:48.707
bleeding mouths and dead people. That's true. Um, yeah. Um, and then

16:48.837 --> 16:52.450
as if this movie didn't have enough for me and us and everyone,

16:52.710 --> 16:55.568
we get our first scene of Danny Trejo. Yes. Uh,

16:55.841 --> 16:59.191
he looks cool as shit. I mean, they, they made him— I love

16:59.303 --> 17:02.509
the decision to give him the throwing knives and like the little belt

17:02.573 --> 17:06.645
to hold them and everything. Just looks so cool. But it shows him dialing

17:06.741 --> 17:10.861
a payphone using a knife to dial the buttons. Fucking awesome.

17:11.005 --> 17:14.435
I love that so much. It's good stuff. He looks— I feel

17:14.935 --> 17:17.866
like he looks weird with short hair though. Like almost everything I remember seeing Danny

17:17.898 --> 17:20.783
Trejo in, you know, later in the '90s, when we've seen him in a couple

17:21.283 --> 17:24.230
things already, he's got longer hair. And to me that's like the classic Trejo look,

17:24.246 --> 17:27.684
is sort of at least shoulder length hair. Here he's got a tight haircut,

17:27.797 --> 17:30.610
like it's, it's a tight up kind of haircut, and I'm just like, he doesn't

17:31.110 --> 17:33.423
look as menacing. I mean, he's still Danny Trejo, so he still looks badass as

17:33.520 --> 17:35.362
fuck, like don't get me wrong. Yeah, but it's like there was something about his

17:35.378 --> 17:39.227
hair that I went, that's a little too like Supercuts. It doesn't quite

17:39.356 --> 17:42.316
work for me like as much as a long hair does. Do you think Banderas

17:42.413 --> 17:44.949
had like a clause where he's like, I'm the only cool long hair guy in

17:45.449 --> 17:47.584
this? Maybe, but you know, they could have gotten around that by not letting Trejo

17:48.084 --> 17:51.118
ponytail it, because I really do think that's one of the ways Banderas looks awesome

17:51.618 --> 17:53.399
is when he's got the ponytail going. He's one of the few dudes, the ponytail,

17:53.592 --> 17:54.887
and then some of the hair is kind of falling out of the ponytail,

17:54.904 --> 17:58.037
which by the way, also be the coolest way to do it.

17:58.117 --> 18:00.777
Also the classic look of every girl I had a crush on in middle school

18:01.277 --> 18:03.598
and high school back in the '90s, for sure. Ponytail with that little bit hanging

18:04.098 --> 18:07.235
out. It's so good. This is— this would have been a much more confusing movie

18:07.251 --> 18:10.232
for me to see during puberty, I got to be honest with you. Yeah.

18:11.033 --> 18:14.414
Uh, so we have a couple instances

18:14.914 --> 18:18.228
in this movie because it doesn't say exactly where in Mexico it is, it's just

18:18.728 --> 18:20.664
generally Mex— well, they use, they use a name for the town, but it,

18:20.808 --> 18:24.014
but it's not clear where. Giving like— exactly. As we've discussed

18:24.514 --> 18:27.832
before, what I need is the map with like the illustration of the plane flying

18:27.864 --> 18:32.066
to the place. Um, and there's these random kind of like spring

18:32.178 --> 18:34.953
break college kid seeming people that are in the town,

18:35.627 --> 18:40.038
and it's like the shittiest bar in the world. And they're just like, your service

18:40.538 --> 18:43.423
here is terrible. And she's yelling at Cheech Marin and everything. She's like, and your

18:43.923 --> 18:47.096
beer tastes like piss, as she's walking out. And then we get Cheech and the

18:47.596 --> 18:49.806
other guy saying, that's because we piss in it. That's not all.

18:51.442 --> 18:53.734
It was funny because they did pay, but it almost looked like for a moment

18:54.234 --> 18:56.922
these girls are gonna get shot. Like, you know, like it really was menacing.

18:56.987 --> 19:00.223
It is funny, the boldness of like— everyone is

19:00.400 --> 19:03.669
on eggshells constantly and everyone's so scared of the cartels

19:03.781 --> 19:07.771
except for these entitled-ass kids who are like, uh, I didn't get everything exactly

19:07.787 --> 19:10.879
the way I wanted. The way she starts it is, I used to work in

19:10.895 --> 19:15.398
a bar, so I get it, but it's

19:15.478 --> 19:19.229
like, Jesus, kid. Oh my God. And then we get another couple

19:19.729 --> 19:22.114
people show up in the same bar. We get Quentin Tarantino and a buddy of

19:22.614 --> 19:26.362
his who's missing significant numbers of teeth, um, and they, uh, order some

19:26.378 --> 19:29.040
beers. And you know, it was funny when Buscemi first came in, he said,

19:29.104 --> 19:32.069
can I get a beer? And Cheech is like, all I got is piss-warm chango.

19:32.133 --> 19:35.644
Chango, which is a great fake beer name. You know, it sounds awesome.

19:35.821 --> 19:38.530
Uh, but these guys order the beer as well, and then, and then they each

19:38.706 --> 19:41.816
give— hand over like what look like business cards, like some kind of identifying information.

19:42.008 --> 19:45.699
And, and, uh, the guy who's with Cheech starts making a phone call. So they

19:46.199 --> 19:48.027
get the beers and they both are like, this is disgusting, which is a great

19:48.187 --> 19:52.089
juxtaposition to Buscemi, who very smoothly, very like casually drank his

19:52.121 --> 19:55.268
beer. Yeah. And Tarantino is like, this is fucking— it is funny how they

19:55.768 --> 19:59.105
both take a big gulp and like before swallowing are both looking at each other

19:59.605 --> 20:02.396
like, oh my God, are we really gonna swallow this shit? Yeah. Uh, and then

20:02.896 --> 20:06.282
we get a Tarantino— and this is like the most Tarantino-ish part of

20:06.346 --> 20:10.328
the movie is him himself in it. Yes, because like

20:10.828 --> 20:13.844
his movies are very like snappy dialogue kind of shit, and,

20:14.342 --> 20:17.794
and Rodriguez's style is much more stylized visual.

20:18.035 --> 20:21.600
Yep, kind of stuff, right? Sure. But the Tarantino character is like

20:21.648 --> 20:25.020
a Tarantino character here, and he comes in and it's a great scene in the

20:25.520 --> 20:29.934
movie, honestly. Yeah, I really like this. And I don't— looking at Quentin

20:30.434 --> 20:33.868
Tarantino does not please me. I don't get warm fuzzy feelings

20:34.368 --> 20:36.453
when I see him, but I think he's good in this, and I like the

20:36.953 --> 20:39.727
way he tells the story. So he tells the story joke basically about, you know,

20:40.192 --> 20:43.658
this guy, uh, bets that he can't piss all the way across

20:44.158 --> 20:46.610
the bar into a glass without spilling a drop, and it turns out he pisses

20:47.110 --> 20:49.514
all over the place because he's made this other bet. But I love where he's

20:50.014 --> 20:53.221
telling the story and he's like, and the bartender's laughing, there's piss going all over

20:53.721 --> 20:56.895
the place, hahaha, piss dripping down his face, hahaha.

20:58.323 --> 21:02.719
I, I really enjoy that type of storytelling. Tarantino is a pretty underrated

21:02.815 --> 21:05.543
actor when he's playing this kind of guy. And,

21:05.639 --> 21:08.721
and he does— here's the thing, I feel like he's an underrated actor

21:09.637 --> 21:13.234
when he, when he's in his zone and probably we understand properly what

21:13.250 --> 21:16.509
his range is. His range is very narrow, but when he's playing that guy,

21:17.023 --> 21:20.219
whether it's this character, it's his character from Pulp, you know, Jimmy from Pulp Fiction

21:20.251 --> 21:23.478
is like kind of the same guy when he's playing this guy. He's, I think,

21:23.526 --> 21:26.915
a lot of fun to watch. And I don't like the man himself

21:27.415 --> 21:29.227
has got all kinds of fucking demons and shit that I don't want to get

21:29.727 --> 21:32.792
into. But like as a screen presence, I like him in this. I like him

21:33.292 --> 21:35.152
in From Dusk Till Dawn. I like him in Pulp Fiction. Like when he's on

21:35.248 --> 21:38.315
screen and he's in that narrow range. He's a lot of fun.

21:38.395 --> 21:41.669
He has to be kind of like an annoying guy that nobody wants a little

21:42.169 --> 21:46.018
bit to be there. Yep, absolutely. And that's his wheelhouse. Yeah, he nailed it.

21:46.098 --> 21:49.693
Yeah, so it's great. So he tells this joke

21:50.193 --> 21:53.561
and the guys like it, and then Cheech pulls out a gun and shoots

21:54.061 --> 21:56.514
the guy next to Tarantino. Yeah, like, he didn't check. He's your friend, he didn't

21:57.014 --> 22:00.061
check out. And moves the gun right to his face. He's like, you checked out

22:00.561 --> 22:04.137
just fine, you know? And then Quentin does the thing immediately where he's like Oh,

22:04.153 --> 22:07.520
actually, you know, good, good job. Actually, I, I'm glad you

22:08.020 --> 22:11.384
did that. I just met this guy. It's good to see that your system works.

22:11.449 --> 22:15.217
So you see, like, it's better for me. Meantime, the dude's

22:15.297 --> 22:18.199
brain splatter, right, is on the side of his face. He's kind of like,

22:18.215 --> 22:21.150
oh, okay. So they take him in the back. He's obviously there for a purpose,

22:21.454 --> 22:24.998
and they take him back. And while he's in the back, El Mariachi shows up

22:25.498 --> 22:28.975
to the bar and is carrying his guitar case. Yeah. And that's, of course,

22:29.087 --> 22:31.966
was part, you know, I did notice actually that Uh,

22:32.223 --> 22:35.366
when Buscemi told the story about him at the other bar, he didn't say

22:35.866 --> 22:37.896
guitar case. He said something like a briefcase and put it down, whatever. Right.

22:38.170 --> 22:40.604
And, but it's clear that this is the legend that they're all aware of is

22:41.104 --> 22:43.154
the, is the Mariachi, the man with the guitar case full of guns kind of

22:43.171 --> 22:46.568
thing. Right. So they're, they're pulling guns on him, like whatever.

22:46.908 --> 22:48.622
And finally we got to check your case. We're going to check your case.

22:48.946 --> 22:52.000
So they open it and it's a guitar. At first it looks fine and they're

22:52.500 --> 22:54.821
kind of like, oh, it's just a guitar. It's okay. But then turns out it's

22:55.321 --> 22:58.255
not a guitar. That's sort of a, right. It's like a false guitar that opens

22:58.351 --> 23:01.835
up and it's all this crazy wild shit underneath, you know, just like in the

23:02.335 --> 23:05.700
sort of storytelling sequence. And this is when all

23:05.748 --> 23:09.839
hell breaks loose in this bar. Yes. And we get one of the first

23:10.339 --> 23:13.592
of maybe 3 or 4 like significant gunfight scenes. Actually, I guess the second,

23:13.608 --> 23:16.736
because in Buscemi's story we got— Right, right. But this is like a really concentrated

23:17.236 --> 23:20.281
sort of like gunplay scene now. And we've got double guns, you know, so El

23:20.781 --> 23:24.194
Mariachi is like, of course you can produce them from your sleeve. Yes. You're cool

23:24.694 --> 23:26.584
enough. Very cool. All you got to do is kind of flick your fingers and

23:27.084 --> 23:31.011
the guns pop conveniently right into your hand. And then the dudes

23:31.511 --> 23:33.962
that are sitting in the bar at this table, all of a sudden it's just

23:34.122 --> 23:37.169
all the furniture's flipped and then they all have guns and shot— like, there's not

23:37.669 --> 23:41.034
a single non-henchman in this bar. Correct. And they're all carrying like Uzis with

23:41.534 --> 23:45.076
suppressors on them or something. It's really wild looking guns. Again, big. If you're,

23:45.188 --> 23:48.781
if you're a drug cartel, you'd probably do better financially to

23:48.893 --> 23:52.469
buy a bunch of the same type of gun in bulk. Yeah. And it seems

23:52.485 --> 23:56.190
like they're very— it's like GI Joe where it's just like, yeah, just wear whatever

23:56.690 --> 23:59.493
clothes. You know, even though we're supposed to be an army, like, yeah, just whatever

23:59.993 --> 24:03.276
gun you want. Uh, one thing real quick about the

24:03.340 --> 24:07.203
secret room. Yes. Oh yeah. Oh God. So when they go in the secret room

24:07.395 --> 24:11.788
in the bar, they're walking and looking at like kind of increasingly

24:11.900 --> 24:15.427
gross toilet stalls. Yeah. And then they finally open one and it's

24:15.927 --> 24:19.290
just absolute disgusting, you know, worst toilet in Scotland from

24:19.338 --> 24:22.688
Trainspotting. Just like splatter and disgusting.

24:22.736 --> 24:26.022
And then the secret door is there. Yeah. But it reminds me of, and it

24:26.522 --> 24:29.133
seems like, oh, they probably use real shit there to keep people away, right?

24:29.213 --> 24:32.101
Yeah, in good camouflage. In Breaking Bad,

24:32.117 --> 24:35.728
there's a part where they have to basically smuggle Walter White

24:35.792 --> 24:38.520
in and out of a building without people seeing him, and they're doing it by

24:39.020 --> 24:41.441
putting him in a laundry bin, right? So it's like, get in the laundry bin,

24:41.489 --> 24:44.217
we throw stuff on top of you and bring him inside. And one of the

24:44.717 --> 24:47.731
funniest things is he comes out, uh, when they get inside, and he's like,

24:48.148 --> 24:49.881
does the laundry have to be dirty?

24:51.117 --> 24:54.631
It's like, yeah, for authenticity it does.

24:54.728 --> 24:58.145
And just for authenticity It has to be real doo-doo on the walls. Yeah,

24:58.162 --> 25:01.226
absolutely. This toilet. So yeah, so we're

25:01.726 --> 25:04.419
in our shootout and this shootout is great. Good stuff.

25:05.543 --> 25:09.329
El Mariachi is like, as he shoots, flicking his wrists forward,

25:09.394 --> 25:12.571
which is one of my favorite things. Yeah. As if it's like, this bullet's not

25:12.619 --> 25:15.555
coming out fast enough. I need to also fling it at you. I mean,

25:15.651 --> 25:19.230
if you are pulling a trigger while pushing your hand forward, that is a small

25:19.278 --> 25:22.102
amount more— You're offsetting the recoil too.

25:22.343 --> 25:26.739
There you go. Yeah, yeah. And man, so we get all these great

25:27.239 --> 25:31.212
things. At one point there's a dude who's like ducking behind the

25:31.712 --> 25:35.556
bar and he's under the ceiling fan. Oh yeah, Mariachi shoots the ceiling fan

25:36.056 --> 25:38.505
and it comes down and like just knocks the guy out. But then when he

25:38.521 --> 25:41.422
goes and sees the guy laying on the ground, the fan's still going, just kind

25:41.922 --> 25:45.269
of like slapping him in the face. It's really good. Yeah, and we

25:45.769 --> 25:48.347
get a great like, uh, a moment that actually made me think of— unfortunately,

25:48.844 --> 25:51.937
uh, well, it kind of is like a scene in Die Hard, uh,

25:52.049 --> 25:55.432
when he shoots up through the conference table. Yeah, right. But Mariachi has to like

25:55.512 --> 25:58.908
kick himself back and slide back along the floor to shoot a guy on the—

25:59.277 --> 26:02.481
up on the, uh, uh, bar that's coming at him. That's a really— that's,

26:02.497 --> 26:05.974
I feel like, one of the classic stills from this movie, is him on

26:06.474 --> 26:09.771
his back, the two guns up. Very cool. Yeah. And, uh, he ends up— there's

26:10.271 --> 26:13.456
only kind of one guy left, and they're both, uh, going at each other,

26:13.520 --> 26:17.109
but they're both picking up empty guns. And that's— this is a very creative,

26:17.141 --> 26:20.121
great, uh, sequence, I think, in this movie. That guy came from the back.

26:20.169 --> 26:22.829
He was like in the back dealing with money with Tarantino and the other guy

26:23.329 --> 26:26.242
that's there. Well, when all hell broke loose The other guy who was like Cheech

26:26.258 --> 26:29.593
Marin's right-hand man kills Tarantino because he thinks he's part of what's going on.

26:29.641 --> 26:32.750
Like, hey, how convenient, you know, that this guy shows up right when you do.

26:32.911 --> 26:35.011
Yeah. And the other guy goes out to like see if he can help,

26:35.027 --> 26:38.040
I guess, basically. And yeah, they're like— they both unload what they've got on each

26:38.540 --> 26:42.369
other, never hitting each other, which is something we should mention. Not since Commando have

26:42.385 --> 26:45.350
we seen a movie where a man can just stand in front of a bunch

26:45.850 --> 26:49.823
of oncoming fire. Yeah. And just never get hit. It's really Schwarzenegger

26:50.323 --> 26:53.333
level. It's amazing how he makes those bullets miss. Yeah. But yeah, once they're both

26:53.509 --> 26:56.716
out, they get a moment where they both reach for a pair of guns and

26:56.800 --> 26:59.963
are just at each other's face and click, click, you know, nothing left. And yeah,

26:59.979 --> 27:03.336
they're just like running through the room trying to grab a gun.

27:03.933 --> 27:06.419
So, and my first thought was like, dude, I would've just take the Uzi you're

27:06.919 --> 27:10.083
holding, which probably weighs like 15 pounds or whatever. Just bash the guy in the

27:10.583 --> 27:12.952
face. Like, come on. This is like when you throw your gun at Superman,

27:13.000 --> 27:16.303
you gotta do something. Seriously. I know it was, it was great. Like the way

27:16.803 --> 27:19.972
that they were both reacting to each other and moving so slow. And then finally

27:20.149 --> 27:23.045
El Mariachi was just like, fuck it. And snaps the guy's neck. That's right.

27:23.688 --> 27:26.612
Um, so great scene. He leaves the bar.

27:26.676 --> 27:30.533
There's a sign, uh, on the wall that says members and non-members

27:31.033 --> 27:33.087
only. I love this sign. I saw that too. That was really great. Yes,

27:33.184 --> 27:36.301
my favorite kind of jacket too. Oh yeah. Um,

27:36.317 --> 27:39.949
yeah. Um, so, uh, now we see

27:40.449 --> 27:43.050
Salma Hayek's character, right? She's like across the street. She's just kind of walking down

27:43.550 --> 27:45.685
the street as Mariachi comes out of the bar and is heading down. But then

27:45.717 --> 27:49.782
the guy who, again, was sort of like Chicha's right-hand guy has followed him out,

27:49.814 --> 27:52.594
and he's apparently got a couple of guns on him, and he's kind of following

27:52.690 --> 27:56.289
Mariachi, you know, running down the street. Because I know we notice he passes

27:56.385 --> 28:00.627
Trejo, but Trejo doesn't like react. He's just kind of watching stuff. And as

28:00.739 --> 28:04.917
he gets approached, Mariachi turns around to sort of like knock Salma

28:05.417 --> 28:07.712
Hayek to the ground to get her out of harm's way. Yeah. And it's like

28:08.212 --> 28:11.456
wrestling briefly with the guy, uh, and there's like gunfire, whatever.

28:11.584 --> 28:14.524
And Salma Hayek's okay, but, uh, he took a shot in the shoulder, I think,

28:14.540 --> 28:17.142
right? Yeah, Mariachi takes a shot in the shoulder. But ends up killing the other

28:17.642 --> 28:19.711
guy with his own guns, kind of turns them back on him and pow,

28:19.839 --> 28:22.905
you know, and then— and I think that scene doesn't

28:23.405 --> 28:26.357
even show the guy getting shot. It's a shot of Mariachi kind of on top

28:26.857 --> 28:29.616
of the guy forcing both guns and hits him with both in the head at

28:29.648 --> 28:32.650
the same time. And just the blood hits quite a bit. Yeah, again, cartoonish.

28:32.843 --> 28:36.471
Very, yes, very cartoonish. Um, when it very first

28:36.971 --> 28:40.597
showed Salma Hayek too, she was walking across the street and these two cars crashed

28:41.097 --> 28:44.418
because they were— everyone was staring at her. It's gorgeous. Yeah, yeah, very nice.

28:44.884 --> 28:48.256
Uh, so El Mariachi left a note at the bar, just says, looking for

28:48.272 --> 28:51.194
Bucho M, right? Right. So yeah, they know, uh,

28:51.884 --> 28:54.775
they know he's around. Yes. And so he's— so now Bucho has showed up to

28:55.275 --> 28:57.954
the bar to kind of, you know, survey the damage, and his right-hand man is

28:57.986 --> 29:01.422
there, and, and they're kind of like, you know, oh man, like the

29:01.438 --> 29:04.649
Mariachi's, uh, uh, is, you know, he's basically still telling me it's a myth,

29:04.666 --> 29:06.817
it's a legend, like this is not, you know, he's like, look, he's here,

29:06.833 --> 29:10.076
he knows I'm here, you know, kind of thing. And more tourists come in briefly,

29:10.911 --> 29:14.682
apparently not immediately turning around upon seeing the piles of dead bodies,

29:14.763 --> 29:17.796
right? Or— and the blood all over the floor, you know, all this stuff.

29:18.615 --> 29:20.685
But, you know, he basically tells them to get the fuck out and they do.

29:20.942 --> 29:24.136
And again, another lucky group of tourists who are not just getting killed by

29:24.636 --> 29:27.427
the cartels. People have been killed for much less. Oh my God.

29:28.069 --> 29:31.616
Yeah. So, so Selma and her name's Carolina.

29:31.777 --> 29:35.019
Carolina. Yep. Carolina is doing surgery. Yes.

29:35.211 --> 29:38.803
On El Mariachi, which is Good, you know, next best thing to self-surgery is

29:38.900 --> 29:42.410
having like a hot chick do it for you, right? Especially one who's no medical

29:42.910 --> 29:46.144
experience, whatever, just reading out of a textbook. Yeah, just— and honestly, that's all you

29:46.644 --> 29:49.221
need to do. I mean, doctors act like, oh, it's important that I know all

29:49.253 --> 29:52.427
this stuff by heart. Just get a textbook, you'll be fine. Um,

29:52.635 --> 29:56.690
she uses a cigarette, a lit cigarette, to cauterize the wound,

29:56.706 --> 30:00.200
which seems like the most painful because it went into a bullet hole.

30:00.697 --> 30:04.560
A few things. One, this is where the actual medical training would be

30:05.060 --> 30:08.171
helpful because now that wound is clearly infected. There's no way that that's not a

30:08.671 --> 30:11.912
problem for the wound itself. And then, yeah, the cauterization kind of like needs to

30:11.944 --> 30:14.980
be like on the sewn-up part, or, you know,

30:15.317 --> 30:18.657
or as big as, you know, the heat applied needs to be as big as

30:18.689 --> 30:22.142
the wound so that it all cauterizes. This is really just her seemingly

30:22.303 --> 30:24.840
playing with his wound. Right. I just want to make sure there's ash inside.

30:24.936 --> 30:28.694
Yeah, that's a great idea. And then he goes to sip water or

30:28.726 --> 30:31.441
to take pills and sip water, and she doesn't tell him until after he's brought

30:31.941 --> 30:34.202
it to his mouth that that's hot water. That she was using for the surgery

30:34.702 --> 30:37.492
or whatever. And he, you know, it's like probably like near boiling. Yeah, really hot.

30:38.182 --> 30:41.279
Oh my God. Uh, but she stitched him up, you know, he's, uh,

30:41.809 --> 30:45.645
and he's recovering. Yeah. Um, we're back at the bar and Bucho's

30:45.661 --> 30:49.015
now arrived and he sees the aftermath, all the bodies. And there's one dude who's

30:49.031 --> 30:52.514
just like lifting full bodies and chucking into a pile. And then

30:52.562 --> 30:55.675
another guy doing the least effective mop job I've ever seen in

30:56.175 --> 30:59.486
my life. Well, there's a lot of— mopping doesn't work. Yeah, in general. I mean,

30:59.713 --> 31:03.192
or it's just such a long-term thing. Like, whenever you see it,

31:03.273 --> 31:06.671
it's not satisfying. Like, yeah, you'll see those infomercials where it's

31:07.171 --> 31:09.814
like, you know, some lint roller or cleaner and it gets so clean and it's

31:10.314 --> 31:13.591
so satisfying to watch. Mopping blood is the exact opposite of that. You're just

31:14.091 --> 31:16.613
wiping it around the floor. Well, they didn't have a Shop-Vac. Yeah, they didn't have

31:16.790 --> 31:19.542
Swiffer Wet Jets back then, so they didn't have the little pad to soak it

31:20.042 --> 31:22.842
up. Well, Desperado 3 is going to be brought to us by Swiffer Wet Jet.

31:24.323 --> 31:27.392
So yeah, so they're, uh, well, they're mopping up in there and then actually Trejo

31:27.892 --> 31:28.946
comes in and Bucho arrives. He leaves with his, with his right-hand man, whatever.

31:30.928 --> 31:33.835
And Trejo shows up and kind of just looks at these guys and it's like

31:34.335 --> 31:37.064
playing with one of his knives. And then I think it's like they're basically like,

31:37.097 --> 31:39.228
"Get the fuck outta here." And he doesn't. But then like they look away and

31:39.261 --> 31:42.301
when he looks back, he's gone. It's just sort of like he's just continually showing

31:42.398 --> 31:45.782
up as this sort of specter that's just in town and looking around and

31:45.814 --> 31:49.122
whatever. So now we cut to Bucho's compound, his home,

31:49.573 --> 31:53.485
and this armored limo shows up. And his right-hand man's

31:53.597 --> 31:56.044
so proud of it. He's like, "Bucho, look what I got. It's all set,

31:56.093 --> 31:58.442
exactly what you wanted. It's exactly what you wanted." And he's like super excited.

31:59.036 --> 32:02.188
Um, and he's like, okay, go, fine, take it and go find

32:02.688 --> 32:05.469
the guy that, that, that is doing that, killed all these men. Like, go find

32:05.969 --> 32:08.767
him. Like, you know, any— and he says, in town, you see anybody you don't

32:09.267 --> 32:11.617
recognize, just kill them. Kill them. Just don't— you know everybody in this town,

32:11.682 --> 32:13.776
go kill it. And which, by the way, all those white tourists are in deep

32:14.276 --> 32:17.464
shit now. There's officially green light on those guys. It is funny that it's

32:17.964 --> 32:21.269
almost like unspoken that like, well, we're not fucking with the Americans because maybe that

32:21.769 --> 32:24.929
blows back too hard on us. And they're like, good, that's bringing money into the

32:24.977 --> 32:28.306
crowd. He— if he's then, you know sort of the, uh, you know,

32:28.834 --> 32:32.007
if he's like in, uh, Roadhouse where he's, you know, Brad Wesley,

32:32.280 --> 32:35.469
you know, ringing the town full of the, you know, to get their money for

32:35.969 --> 32:38.241
protection. Well, they got to be having some outside money come into the town,

32:38.273 --> 32:41.558
and that's what your white tourists are for. Like, yeah, these are

32:42.058 --> 32:45.580
your double-deuce, uh, patrons. Maybe it should have been, if you see anybody Mexican you

32:46.080 --> 32:48.625
don't know, yeah, kill them. Maybe that would be more specific. You know, that's what

32:49.125 --> 32:52.070
he really wants. Um, um, so, uh, let's see,

32:52.535 --> 32:55.932
they've got Uh, a couple things real quick.

32:56.076 --> 33:00.354
They were looking, um, El Mariachi and Carolina are kind of— she

33:00.467 --> 33:04.184
looks at his guitar case, right? And oh yeah, they open it up

33:04.684 --> 33:08.190
and they're looking at all the different things. And one thing, yeah, so this

33:08.238 --> 33:11.620
great like codpiece gun with like, you know, total dick and

33:12.120 --> 33:14.985
balls thing, looks great. Um, yep. And, uh,

33:15.225 --> 33:18.526
saved him a couple of times or something like that. Yeah, yeah. So Bucho gets

33:19.026 --> 33:22.449
a call and finds out that his boss— so he's not the boss boss,

33:22.465 --> 33:26.211
right? Yeah, yeah, he's still got people above. They keep referencing that the Colombians

33:26.227 --> 33:29.090
are watching them closely, and so there's obviously this like, you know, they're probably in

33:29.139 --> 33:32.167
charge of the drugs. Yeah, there's some— there, it's— they're a certain level that is

33:32.263 --> 33:35.485
like higher than the street but not, not the supplier. They still— yeah, yeah.

33:35.968 --> 33:39.462
Um, and he gets a call basically saying, we sent someone down here.

33:39.526 --> 33:42.086
Yeah, yeah. He's like, all right, what does this guy look like? Yeah, like,

33:42.102 --> 33:44.742
we're not gonna tell. He's like, I need to know what this motherfucker looks like

33:44.758 --> 33:46.998
so that we don't kill him because I just sent my guys out to kill

33:47.498 --> 33:50.899
everyone. Yeah, right. Yeah. And he's yelling at everyone. He's like, What's the phone number

33:50.915 --> 33:54.253
in my, in my limo? That's right. And no one knows.

33:54.333 --> 33:57.495
He's like, I don't know, it's a new car, boss.

33:57.720 --> 34:01.026
The one guy that like shrugs and kind of smirks, he does it over

34:01.526 --> 34:03.530
and over again. He was like there for the limo delivery. Yes. With a big

34:04.030 --> 34:07.382
mustache. He's hilarious. Like every time he goes, like,

34:07.526 --> 34:11.105
he reminds me of like the plethora guy from, uh, the plethora guy from,

34:11.218 --> 34:14.781
from Three Amigos and also the like right-hand man, not Mexican, but the right-hand man

34:15.054 --> 34:18.502
of, uh, Governor Jay LePétomane in Blazing Saddles.

34:19.081 --> 34:22.250
The Slim Pickens character from Blazing Saddles also just kind of like, I don't know,

34:22.379 --> 34:25.467
like, you know, kind of thing. Yeah, he's good. A little bit of comic relief

34:25.500 --> 34:29.492
because Buccio is not giving us much in terms of comedy. He's very serious.

34:29.573 --> 34:33.179
He's just the most serious man. He's very serious. But before, like,

34:33.275 --> 34:36.473
at one point, so after leaving Carolina's, he asked, hey, can I leave my stuff

34:36.973 --> 34:39.124
here with you for a minute? Mariachi does. I gotta go to church. I gotta

34:39.624 --> 34:42.112
go confess. Gotta go to confession. So he goes in and it's not a priest

34:42.612 --> 34:44.444
in the booth with him, it's Buscemi, right? And he's basically telling him like,

34:44.510 --> 34:47.155
look, dude, you you know, I've looked around some more, like, you know, Bucho's not

34:47.203 --> 34:49.640
the top. If you, if you're going to keep going, you're never going to figure

34:50.140 --> 34:52.626
this out. This is never going to end. You don't want this. You should just

34:52.771 --> 34:55.043
fucking forget it. You got the guys that actually killed her.

34:55.830 --> 34:58.145
Stop it. Yeah, kind of thing. And he's like, no, I told you, Bucho is

34:58.241 --> 35:00.443
it, you know, kind of thing. But it's like his attempt to go, and he

35:00.943 --> 35:04.659
basically says, I'm not, I'm not sticking around with you. Like, I'm done,

35:04.756 --> 35:07.401
you know. Um, so when he goes to leave,

35:08.466 --> 35:11.853
he's then— they're then being followed by Danny Trejo, right? And so,

35:11.950 --> 35:15.770
and this is when we really get to see Trejo sort of

35:16.270 --> 35:18.607
armament. Yes, because he opens up his vest, whatever, he's got this, this almost cummerbund.

35:18.671 --> 35:21.884
Yeah, it is like of like of just so many throwing knives,

35:21.900 --> 35:25.032
like dozens and dozens of throwing knives. And so he starts kind of

35:25.532 --> 35:28.599
attacking Buscemi and Mariachi and kills Buscemi right away, a couple of

35:28.631 --> 35:32.181
throwing knives right after Buscemi says like, oh yeah, I plan on living

35:32.681 --> 35:36.101
a long— that's right, yeah, exactly. And, uh, so, so we've got— this is

35:36.601 --> 35:39.956
interesting too, I found like the kind of care— the actors who I most recognized

35:40.456 --> 35:43.885
in smaller bits all die fairly quickly after being introduced. The Cheech Marin,

35:44.239 --> 35:47.186
Quentin Tarantino, and now Buscemi lasted a little while, but still we're not,

35:47.460 --> 35:50.359
I don't think, halfway through the movie at this point, maybe about that, and he's

35:50.859 --> 35:54.104
dead. So it's like all these sort of like actors you'd recognize outside of Banderas

35:54.120 --> 35:58.121
and Hayek, they're, they're dying pretty quick, you know. So yeah,

35:58.137 --> 36:02.239
um, so, uh, let's see, they are— well,

36:02.255 --> 36:05.811
this is— so these— so the limo— so Trejo, and, uh, he's coming

36:05.844 --> 36:09.103
at them. Yeah, he's coming up. He's been killed. Yep. Mariachi's been hit by a

36:09.603 --> 36:10.896
couple of knives. He's like 3 or 4. That's one of the spurts. He gets

36:10.912 --> 36:14.675
hit in the back and literally blood Oh, shoots over his shoulder.

36:14.740 --> 36:18.239
There's some good squibs in this. This is a squib-heavy film. Uh,

36:18.449 --> 36:21.819
so the bulletproof limo pulls up though, and they, and they just see the

36:22.319 --> 36:24.810
melee, and it's like, all right, well, these have got to be the guys that

36:25.310 --> 36:27.300
we need to kill, right? Because we don't know these motherfuckers. I don't know that

36:27.800 --> 36:30.899
they see who Trejo's attacking because now Mariachi's down the alleyway or whatever. Yeah,

36:31.060 --> 36:33.785
but they just see him. He's a guy we don't recognize, and he's got weapons,

36:33.882 --> 36:37.637
and he's like being aggressive. Yeah, kill him. And so he gets a bunch

36:37.702 --> 36:41.150
of them though with those knives. Oh my God, really? His moves, I mean

36:41.536 --> 36:45.322
A bulletproof limo is no match for throwing knives. Like, when the bulletproof, uh,

36:45.563 --> 36:49.027
sunroof flips open and he just like starts chucking knives down

36:49.076 --> 36:51.899
in there like he's throwing a grenade into a tank. Like,

36:52.043 --> 36:55.027
oh my God, dude, he's so video game. Like, really good.

36:55.973 --> 36:59.053
Yeah, so he takes out a bunch of guys, um, but that he ends up

36:59.101 --> 37:02.630
getting shot and killed by that kid, the kid who broke

37:03.130 --> 37:05.902
his, uh, the broken leg. He's now got a cast kind of on. Yeah,

37:05.918 --> 37:09.471
yeah, yeah. So, um, so he's kind of like one of the top henchmen

37:09.971 --> 37:13.342
or what. Now that all the rest of them are dying. Yeah. Yeah. So,

37:13.439 --> 37:16.792
so he takes out Trejo, which is a big mistake, but they don't know that

37:16.824 --> 37:19.718
yet. Yeah. So let's see, we got a kid.

37:19.976 --> 37:23.138
Yes. In town. That's right. This is kind of the other thing that

37:23.638 --> 37:25.913
we have to care about is there's this kid in town who's playing guitar and

37:26.413 --> 37:28.838
he wants El Mariachi to teach me how to play guitar and all this stuff.

37:29.000 --> 37:32.322
And he says his name is Benito, which, which is important for later.

37:32.484 --> 37:35.710
Okay. Kid's name is Benito apparently. So yeah. And Benito says

37:35.907 --> 37:38.883
you know, like, oh, I want to learn how to play guitar. My dad,

37:39.238 --> 37:42.376
uh, doesn't work. He's kind of talking about his family a little bit, but he

37:42.876 --> 37:45.206
like was a mariachi. He said, yeah, it was a mariachi, but he doesn't like

37:45.706 --> 37:48.919
play anymore. Uh, there's a scene where the kid is— he's trying to take,

37:49.081 --> 37:51.292
uh, El Mariachi. He's like, here, come here, I want to show you something.

37:51.341 --> 37:54.471
Yeah, yeah. And there's a scene where he's walking,

37:54.808 --> 37:58.102
uh, past this wall, and El Mariachi is walking past the wall, but he's bloodied,

37:58.118 --> 38:01.122
and he's kind of leaning against the wall and leaving streaks of blood on the

38:01.154 --> 38:04.420
wall. And I feel like that's one that Robert Rodriguez was very proud of.

38:04.471 --> 38:05.706
It's a cool scene, but it's probably one of those things in his head where

38:06.206 --> 38:10.125
he's I think it'd be cool as

38:10.141 --> 38:14.359
fuck. But yeah, the kid like almost gets hit by a truck and Mariachi saves

38:14.859 --> 38:17.868
him. And then he's like, hey, I gotta go switch out my guitar or like

38:18.368 --> 38:20.985
trade my guitar or something, right? So this car drives up and the kid goes

38:21.017 --> 38:24.439
and brings the guitar to these like real shady looking dudes and they hand

38:24.455 --> 38:27.755
him a different guitar, whatever. And as they pull around the

38:28.255 --> 38:30.926
corner, they see Mariachi there. And again, you said he's all bloody or whatever,

38:30.942 --> 38:33.838
but he does have a gun on him. The dude tries to pull a gun

38:34.338 --> 38:36.068
and he's like, like, you know, no kind of thing, you know what I mean?

38:36.116 --> 38:39.502
It's like, dude, you know, you can drive away, but like, you're not— you know,

38:39.566 --> 38:42.265
don't do that kind of thing. So he does, but he takes the guitar back,

38:42.346 --> 38:44.900
breaks it open, and sure enough, there's a big old bag of cocaine inside or

38:45.400 --> 38:48.580
whatever. And this is— the kid then drops a dime on Carolina because he says

38:48.676 --> 38:50.732
like, what is this? Like, what do you do this? He said, well, because my

38:50.750 --> 38:53.530
dad like doesn't work, he just sits around. So he's like, I do this.

38:53.996 --> 38:57.468
Everybody in town does this, right? Even Carolina, because he mentioned the bookstore.

38:57.516 --> 39:00.693
He was talking about the, the locations and stuff. Exactly. Businesses.

39:00.795 --> 39:04.778
Yeah. And Uh, yeah, so Carolina has a bookstore

39:05.051 --> 39:08.576
cafe place. Yep. Worst set in the entire

39:09.076 --> 39:12.021
movie. They put no effort into it. It is like one wall of books that

39:12.521 --> 39:14.793
don't even look like books that would be for sale at a bookstore. It looks

39:15.293 --> 39:18.478
like a library reference light. Like, I have that in my office around the corner.

39:18.526 --> 39:21.186
And then a single, like, espresso machine off on the side of the counter.

39:21.234 --> 39:24.631
It's not really a cafe, it's just like, I've got an espresso machine. It just—

39:25.096 --> 39:28.990
and whatever. But it feels no different in there than in the dusty

39:29.369 --> 39:31.843
bar. Like, which I think is like, here's, here's the reality of the situation though,

39:31.891 --> 39:34.269
because she tells us a little bit of the backstory. Her parents owned the building,

39:34.703 --> 39:37.659
so she has an apartment upstairs. Her parents are dead and they left her the

39:37.740 --> 39:41.331
building, and she created the bookstore in the building. She did not inherit a

39:41.831 --> 39:44.951
bookstore. Gotcha. So she wanted to make a bookstore in this town, which, you know,

39:44.984 --> 39:48.304
everybody told her was stupid because nobody reads, like, whatever. Yeah, but she like put

39:48.804 --> 39:51.381
all that kind of together herself. So it is a little, you know, so it

39:51.881 --> 39:55.898
makes more sense that it doesn't look like a fresh-off-the-assembly-line Borders.

39:55.947 --> 39:58.306
It was probably like a restaurant or something, whatever, when her parents owned it.

39:58.355 --> 40:01.507
But like, yeah, it's— she turned it into Libros y Café.

40:01.813 --> 40:04.777
Okay, okay, that makes sense. And, and she said,

40:05.035 --> 40:08.095
um, you know, El Mariachi's confronting her,

40:08.192 --> 40:11.321
but like, you're taking money from Bucho, like, what is wrong with you?

40:11.821 --> 40:15.098
And she says— he's like, you're, you're doing good, your business is doing good.

40:15.307 --> 40:18.955
And she's like, no, my business isn't doing good. Bucho pays me $50,000 a year.

40:19.228 --> 40:21.884
I'm glad they're working in USD here.

40:22.061 --> 40:25.747
It's a smart move, makes it easier. The translation would have

40:26.247 --> 40:29.077
been especially hard. The Mexican peso got like recalibrated, I think, at some point in

40:29.577 --> 40:31.213
the '90s. Yeah, yeah, it was right around that time because it was like,

40:31.343 --> 40:33.965
oh, used to be like 5,000 pesos a dollar, and then suddenly it was like

40:34.111 --> 40:38.238
300 or something. It was just a very different thing. But yeah, the new peso.

40:38.384 --> 40:42.159
Yeah. Um, so, uh, so Bucho comes into the bookstore and

40:42.192 --> 40:45.562
she's still kind of dealing with, you know, El Mariachi's up on the

40:45.580 --> 40:48.745
counter, right? Right. Because, well, because he's— she sewed up his face because now he

40:49.245 --> 40:52.184
got new wounds that he has to have fixed. So she's stitching him up and

40:52.684 --> 40:55.112
he's sitting up on the counter, but then Bucho and his guys are right outside.

40:55.161 --> 40:57.193
Yes. So she shoves him off the counter onto the floor, and then to mask

40:57.693 --> 41:01.616
that shoves her cash register

41:01.744 --> 41:05.004
onto the other side of the door to make the noise. Exactly, smart, very smart

41:05.036 --> 41:08.552
move. Yeah, really smart move. And then Buccio for some reason comes in by himself.

41:08.889 --> 41:11.602
Yeah. The henchmen stay outside, but I think it's 'cause he wants a little action

41:11.715 --> 41:16.049
from her too. I think it's one of those things where everybody

41:16.549 --> 41:18.747
knows her, right? So the henchmen don't view her as any kind of threat 'cause

41:18.779 --> 41:22.439
they know her. And it's clear from the way Buccio acts, if they

41:22.455 --> 41:25.297
haven't had relations before, 'cause he kind of hints that they do later too,

41:25.786 --> 41:29.241
They've either been together or he, you know, has gotten closer. I don't

41:29.257 --> 41:32.293
know. There's something there where, like, he's acting like they're very familiar.

41:32.454 --> 41:35.427
Yeah. And, you know, he kisses her and she doesn't really push away. She doesn't

41:35.443 --> 41:38.310
love it. She kind of turns away a little bit, but like, she's not forcing

41:38.326 --> 41:40.662
him away. She's kind of like, this guy's going to do the fuck he wants

41:40.678 --> 41:43.449
to do, you know? And that's probably the deal in the town is he's just

41:43.497 --> 41:47.024
like, he takes whatever. Everything's his. Exactly. But so

41:47.040 --> 41:49.487
they're chatting for a bit. And I love that this was one of my favorite

41:49.616 --> 41:52.965
sort of moments that wasn't a bombastic action scene in the movie

41:53.143 --> 41:56.896
is, is El Mariachi's sitting behind the bar, can't be seen,

41:56.928 --> 42:00.775
but has to be super quiet, right? So as they're talking, while she's

42:01.275 --> 42:04.350
talking, he kind of ejects the clip from his gun,

42:04.847 --> 42:08.054
looks and sees he has no bullets in it, you know, finds the other clip,

42:08.070 --> 42:11.645
like he's in his pocket maybe or whatever, and then has to like very slowly

42:11.677 --> 42:14.931
kind of click it back into place. And she recognizes

42:14.963 --> 42:17.368
what's going on. You can tell there's a recognition on her face that Bucho doesn't

42:17.868 --> 42:21.106
have, where she stops talking, 'cause she's done

42:21.138 --> 42:24.396
talking, she's whatever she's doing, but then she kinda goes, and she starts talking

42:24.428 --> 42:27.928
again, which gives him audio clearance essentially to click the

42:27.960 --> 42:30.673
little clip into place, and then he has to like pull the hammer back and

42:30.753 --> 42:33.787
all this stuff, and it's a really just really great tense moment of him trying

42:33.819 --> 42:37.174
to be prepared without drawing attention to himself, and a gun

42:37.674 --> 42:40.160
at the side, I mean, this is like a.50 caliber pistol he's holding, or not.50

42:40.660 --> 42:44.269
caliber, whatever, the.50, like a Desert Eagle kind of weapon.

42:44.831 --> 42:48.250
It's loud, right? These are heavy metal components that are loud when they

42:48.750 --> 42:52.704
click together, but she keeps, talking more to like cover, give him audio

42:53.204 --> 42:55.240
cover. I thought it was really, really great little moment between the two of them

42:55.531 --> 42:58.825
when they couldn't have really communicated together. She picked up on shit so fast.

42:58.987 --> 43:01.317
Yeah. You know, and it was really great. So he's able to like get his

43:01.333 --> 43:04.088
gun ready and of course doesn't need it. Butcher leaves. But, but it was really

43:04.588 --> 43:06.681
kind of neat, tense little moment where it's like, oh, is he going to get

43:07.181 --> 43:09.283
heard? Is Butcher just going to get up? Is he going to look over at

43:09.783 --> 43:12.079
any point? Like, at no point did he even look over because he sort of

43:12.111 --> 43:15.565
concentrated on Carolina, which, you know, and it was tense because like the

43:16.065 --> 43:18.954
movie to this point has been like all shootouts. Yeah. You know, so why wouldn't

43:18.970 --> 43:22.538
there be another shootout here? Yeah. Um, yeah, really good. Uh,

43:22.862 --> 43:26.247
and, and she, you know, she's smooth there. Bucho and

43:26.747 --> 43:30.255
the crew leave. Um, we get a sex scene between,

43:30.465 --> 43:34.394
uh, El Mariachi and Carolina. There's entirely too many candles

43:34.491 --> 43:38.223
for like how much they're probably moving the walls. And like, I don't know

43:38.272 --> 43:41.726
how structurally sound those shelves are and stuff. It feels like it's

43:42.226 --> 43:45.566
a, you know, it's a problem waiting to happen. But, but it's a good scene

43:45.598 --> 43:47.515
in that— I mean, obviously it's a good scene for lots of reasons. I mean,

43:47.531 --> 43:49.433
Salma Hayek's beautiful, they're both very sexy people, so it's like, it's great that way.

43:49.498 --> 43:53.521
But it also like, it feels tender, it feels warm, between the lighting,

43:53.634 --> 43:56.126
the music they choose, like all this stuff. And so it feels a little bit

43:56.304 --> 43:59.007
very much, uh, like they're connected. This is not— this is not 8 Mile,

43:59.136 --> 44:02.592
right? Reference in the past, right? Um, and then we get the immediate cut,

44:02.672 --> 44:05.131
right? We juxtapose that with Bucho and his girl,

44:05.886 --> 44:09.245
and it's— or is it even— is it even his girl that's in the— I

44:09.261 --> 44:11.385
couldn't quite tell. I couldn't tell if it was like that kind of henchman.

44:11.433 --> 44:14.383
Yeah, exactly. What, some random kind of hooker or something? I don't know.

44:14.431 --> 44:17.139
But whoever he's with, he does not give a shit. He is fully distant.

44:17.187 --> 44:20.928
He's smoking a cigar, blows it in her face, and she like Chokes and coughs.

44:21.008 --> 44:25.166
It's like, holy shit, this couldn't be more different. He was just like catatonically

44:25.198 --> 44:28.615
looking forward. It's like a guy who has $10,000 bet on

44:28.663 --> 44:33.237
a football game and it's in the third quarter and, you know, he's lost like

44:33.318 --> 44:37.055
ages ago and it's just kind of like, what the fuck, dude? His team is

44:37.555 --> 44:41.099
down by 40. And Buccio like blows cigar smoke in his face and

44:41.599 --> 44:45.059
everything. He's gross. But then he kind of has this realization and he's like,

44:45.923 --> 44:49.131
Mariachi's in the fucking bookstore. He calls his right-hand guy and he's

44:49.195 --> 44:52.532
like, he's there. Like, and this was, I thought, weird. And I know why

44:52.644 --> 44:54.585
it had to happen for the movie, but for the character it felt weird.

44:55.050 --> 44:58.179
He says, if she's hiding, if she's hiding

44:58.679 --> 45:01.676
in there, kill them both, make it look like an accident. Why the fuck would

45:02.176 --> 45:04.515
he care if it looks like an accident? I don't think that matters. But then

45:05.015 --> 45:07.740
he says, an accident, it's a bookstore, light it on fire, which it's like,

45:07.916 --> 45:11.558
is gonna make for a really cool scene and also sort of like thrusts the

45:11.574 --> 45:15.199
other characters into situation where they have no, no other choices. So I get

45:15.699 --> 45:18.183
it from like a plot perspective, but in the moment, I don't see why it

45:18.247 --> 45:20.413
would make any sense for Buccio to give a shit that it looks like an

45:20.913 --> 45:24.392
accident. That's a really good point because he— the only authority to him is

45:24.648 --> 45:27.697
whoever's calling him on the phone, right? I mean, the cops— like, there's not a

45:28.197 --> 45:31.386
cop in this whole movie. Like, you don't see any of that stuff. Um,

45:31.402 --> 45:34.884
so yeah, that's a good point. Uh, but they get there and they're outside the

45:34.916 --> 45:38.188
window. So, uh, Carolina is singing.

45:38.445 --> 45:42.677
Yeah. And she has her eyes closed and everything's a very tender scene as

45:42.773 --> 45:46.620
El Mariachi is sitting down there, laying down, and sees the shadows

45:47.120 --> 45:50.099
of these guys outside the window. Yeah. And he slowly pulls his guns out.

45:50.163 --> 45:54.218
So he's got a gun on each guy but doesn't disturb her singing,

45:54.315 --> 45:57.761
you know? And as they're kind of walking behind her, they're both there. So it's

45:58.261 --> 46:00.807
like, well, I can't shoot through her. So he just boots her over and starts—

46:01.307 --> 46:04.557
yeah, starts shooting at these guys. Also, are we to believe— it seems like in

46:04.654 --> 46:07.783
the way the day is going, that this scene with her and the guitar and

46:08.283 --> 46:11.333
the guys approaching the apartment happened kind of right after the sex that

46:11.833 --> 46:15.701
they had. Yeah, he is fully dressed, he's got his boots on, and he's laying

46:15.749 --> 46:19.058
in bed. I just don't— and again, we have to because we

46:19.558 --> 46:21.627
have to about to have him go, you know, he's not gonna get dressed.

46:21.836 --> 46:23.747
Yeah, he's not gonna have time to get dressed if he has to, you know

46:24.247 --> 46:26.654
what I'm saying? So I get it again from a plot perspective, but it's like,

46:26.735 --> 46:29.642
character— was he fucking with the boots on then? Well, we saw them, they were

46:30.142 --> 46:32.163
both completely butt naked. We saw them in the thing, there was, you know,

46:32.360 --> 46:36.206
lots of skin in that scene. So another thing where it's like, there I— I'll

46:36.706 --> 46:39.533
be totally honest, this is where the movie starts to have— I start having problems

46:40.033 --> 46:43.593
with it. One, I 100% agree because I loved it

46:44.093 --> 46:46.716
to this point. Yep. And it was— and it was the very first crack for

46:47.216 --> 46:49.711
me was Bucho saying, make it look like an accident. I was like, why the

46:49.760 --> 46:52.373
fuck does he care? And numerous things we're about to get to, I went,

46:52.599 --> 46:55.778
what, what, what? And it really kind of— this movie to

46:56.278 --> 46:58.117
me a little bit falls apart from this part out, but we'll keep going.

46:58.246 --> 47:01.728
Yeah. But basically, like, it's another great shootout scene. And then she's— I do

47:02.228 --> 47:03.478
love that, you know, she's trying to get her shoes on. First of all,

47:03.850 --> 47:07.543
girl, heels? You don't got any flats you can throw on? You really think— am

47:07.640 --> 47:10.135
I supposed to believe that a woman who lives in a little village in Mexico

47:10.248 --> 47:13.254
doesn't own a pair of fucking, like, sandals? Dirt roads and stuff. It's not like—

47:13.527 --> 47:17.511
yeah, you're not walking around a mall. Yeah, exactly. But she throws on mismatched

47:17.800 --> 47:22.035
pumps, which is pretty cool. They're fighting. They go down the stairs into the— and

47:22.051 --> 47:24.004
to go out through the front door of the bookstore. And of course it's on

47:24.504 --> 47:26.828
fire. So this is one of the reasons we had to have— but of course

47:27.328 --> 47:29.152
Bucho didn't need to say, "Accident." He could have just said, "Kill them both and

47:29.652 --> 47:30.360
light that fucking bookstore on fire." He could have just been aggro about it and

47:30.860 --> 47:34.341
it would have made more sense. Anyway, that happens, so they

47:34.841 --> 47:37.452
have to go back up, and now they're basically up on the roof, which is

47:37.484 --> 47:41.108
like scary because it doesn't seem like— it seems like

47:41.608 --> 47:45.438
there's a lot of distance between these buildings. Yeah. Um, but she

47:46.128 --> 47:49.784
runs and jumps like a fucking track star, taking the heels off, of course,

47:49.896 --> 47:52.398
right? You know, but then him, uh,

47:52.703 --> 47:55.814
what— talk to me about how does this work? It looks like he falls.

47:55.942 --> 47:59.342
So El Mariachi— so, uh, Carolina jumps to the other building because

47:59.374 --> 48:02.357
there's guys who are coming up her— yes, after them, right? They got to do

48:02.857 --> 48:06.364
something She jumps to the other building. He throws the guitar case over there and

48:06.864 --> 48:10.082
it lands. And then he's somehow like tipping

48:10.178 --> 48:13.656
off the building on his tiptoes and it looks like he's about

48:14.156 --> 48:17.086
to fall off. But then he gets enough thrust out of his legs that he

48:17.586 --> 48:20.981
can do like the backwards jump, right? He's shooting at the guys

48:21.013 --> 48:24.619
on the old building with his 2 guns. Yeah. And has enough power

48:25.119 --> 48:28.530
to like land comfortably on the other building. He can barely make

48:29.030 --> 48:31.799
it with 10 feet to spare. Like, he's like the middle of the building,

48:31.831 --> 48:35.813
dude. If we're talking about the hockey game in Clerks, he landed on center ice,

48:36.086 --> 48:39.683
right? Exactly. And, uh, oh my God. Yeah, so I don't, I don't,

48:39.780 --> 48:42.782
I don't get the physics of that at all. Yeah, but it looked cool.

48:42.991 --> 48:45.095
And again, that's one of those things where it's like, oh, it would be cool

48:45.595 --> 48:48.162
if someone did this, you know? And then we get the, the most, uh,

48:48.355 --> 48:52.000
uh, uh, I would call sort of formatted or pre-planned shot

48:52.500 --> 48:55.002
of the entire movie. He takes a couple of grenades out of the guitar case.

48:55.051 --> 48:58.086
There's 2 guys down on the street. He throws the grenades down. As they start

48:58.586 --> 49:01.675
running away, the grenades explode And, and as they're walking,

49:01.949 --> 49:05.959
uh, Carolina and Mariachi are walking along the rooftop, this big explosion happens behind

49:05.991 --> 49:08.938
them, right? And it's a great— I mean, honestly, it's probably the COVID for this

49:09.116 --> 49:12.418
episode. Yeah, because it's a great shot, the flame behind them, and they're walking holding

49:12.515 --> 49:16.270
hands and she's got his jacket on. Fucking classic. Really cool visual. Really fucking

49:16.770 --> 49:19.438
cool. Like you were saying, you know, comparing like Tarantino and Rodriguez, and Rodriguez having

49:19.471 --> 49:23.425
such this visual language in this visual style. This was like, again,

49:23.506 --> 49:26.783
one of the coolest images in a movie full of cool

49:26.880 --> 49:30.248
images. Yeah, for sure. Very, very neat. Um, and,

49:30.312 --> 49:34.230
uh, while they were on the roof, uh, he had a clean shot at

49:34.246 --> 49:37.200
Butcher, right? But you're right. Yeah, right, because she says,

49:37.313 --> 49:40.476
that's Butcher. There he is. There, that's him. Yeah, and he— and he can't— he

49:40.976 --> 49:43.334
sees his face. Yep. And he— then he— and then he doesn't. And he doesn't

49:43.834 --> 49:46.818
tell Carolina why. He doesn't tell us why. Like, the audience is left in the

49:46.850 --> 49:50.415
dark like she is. Yeah, it's fine, that's a choice, but it doesn't make

49:50.915 --> 49:54.637
a lot of sense to this point. Um, it was very strange,

49:54.718 --> 49:57.858
and it was strange that he didn't immediately tell her. It was very,

49:57.874 --> 50:00.865
that to me was a very odd choice. Yeah, that would've seemed pretty relevant.

50:00.946 --> 50:04.971
'Cause she's pissed. She's like, what the fuck? Like, he just blew up my business.

50:05.327 --> 50:07.411
He knows I'm with you, so he's gonna kill me if he gets a chance.

50:07.654 --> 50:10.354
What the fuck, dude? Could you please kill this asshole? Yeah, and it's even like,

50:10.726 --> 50:14.185
if not for your murdered lover and your fucking

50:14.298 --> 50:17.514
guitar hand, how about the shit that just happened

50:17.530 --> 50:21.400
and is happening? Like, I will bang you more. That will justify killing this guy,

50:21.416 --> 50:24.689
right? Right. Get rid of him and we are cool. We can bang as

50:25.189 --> 50:26.714
often as you like. Just get rid of that fucking guy.

50:29.184 --> 50:31.718
Um, so Bujo is fucking pissed, right?

50:32.632 --> 50:36.593
Yes. He's back at his, uh, compound, right? And he's like,

50:36.962 --> 50:40.907
you know, you see someone you don't know, you shoot them. How, how fucking hard

50:41.407 --> 50:43.361
is that? So fucking simple. What you do— and this is all this group of

50:43.377 --> 50:46.039
his guys all standing in front of him— and then he just looks in the

50:46.539 --> 50:49.808
middle to the guy that we like. He's like, hey,

50:50.450 --> 50:53.353
I don't know that man. Who's that? And everyone starts backing away from me.

50:53.401 --> 50:56.675
He's like, oh, Bucho, you know, and he shoots and kills him. So,

50:57.514 --> 51:00.658
you know, he's furious. I love that he has the bulletproof

51:00.674 --> 51:04.539
limo, and as the guys are driving away, he's just taking potshots at

51:05.039 --> 51:07.904
the limo because what the hell, it's bulletproof, there's no harm in that. Even funnier,

51:07.920 --> 51:10.385
we can't skip past this part though. He kills the one dude and then gives

51:10.401 --> 51:12.965
the gun back to his right-hand man. He says, see, see how simple that is?

51:13.062 --> 51:15.255
Yeah. And all of his guys are still kind of milling about, they're kind of

51:15.755 --> 51:17.803
looking at the corpse, and he goes and he looks and he takes the gun

51:17.835 --> 51:21.266
back from him, goes, right Hey, who are these guys? Yes, I don't know these

51:21.766 --> 51:24.659
guys either. I've never seen them either. And they all like dive behind the hay

51:25.159 --> 51:27.602
bales. So funny. So good. Oh my God.

51:29.050 --> 51:32.379
Um, so yeah, so now Buccia— or not Buccia, uh, Carolina and Mariachi are chatting.

51:33.321 --> 51:36.700
Mariachi's still not explaining why he has not killed Buccio, why he chose not to

51:37.200 --> 51:39.886
kill Buccio. But he says, you need to go take all the money that you

51:40.386 --> 51:41.793
have. You said you saved a bunch of money. She's like, yeah, it was in

51:41.826 --> 51:45.269
the fucking books. Which, like, banana stand type situation.

51:45.350 --> 51:48.660
Yeah, but if you're gonna sell the books Why is the money in

51:48.772 --> 51:51.918
the books? It's one thing if it's in the bookstore, but she said they

51:51.983 --> 51:55.226
were hidden in the books. I guess she was so convinced

51:55.726 --> 51:57.954
no one was ever gonna come in to buy books from her bookstore that she

51:58.454 --> 52:00.429
just stashed it there. It's all just hollowed out. It's right there. All the pages

52:00.929 --> 52:03.647
are cut out, you know, kind of thing. My wife actually made me one of

52:04.147 --> 52:07.788
those out of a copy of, oh God, it was Confederacy of Dunces. Nice.

52:07.837 --> 52:09.779
Yeah, so I got one of those, which if you ever come over to my

52:10.279 --> 52:13.728
house, don't grab my copy of Confederacy of Dunces. You get a rock hammer in

52:14.228 --> 52:16.059
there for making your own chess pieces. Exactly.

52:16.991 --> 52:19.647
Pieces. But no, so he's like trying to explain to her like, well, you just

52:20.147 --> 52:21.914
need to go. And she's like, I got nothing. Like, that was it. Like,

52:21.995 --> 52:25.039
I'm fucked. Like, if you don't do this, don't you— you said you had friends.

52:25.087 --> 52:28.238
Can't you call friends? And he's like, campo and campa and kino,

52:28.384 --> 52:31.225
they would tear the town apart. She's like, yeah, okay, I'm fine with that.

52:31.435 --> 52:33.712
Yeah, I'm cool with that. Let's, let's do that. So sure enough, he gets on

52:34.212 --> 52:37.391
the phone, he calls, he calls campa and kino. Yes. And this is

52:37.439 --> 52:40.682
again very cool. And plot-wise,

52:40.795 --> 52:44.521
whatever, I don't care. This looks cool as shit. And, and it introduces us to

52:44.570 --> 52:47.090
some new styles of what weaponry, which is all we're looking for,

52:47.139 --> 52:50.528
right? So yeah, we got the 3 mariachis here.

52:50.592 --> 52:53.805
We got his 2 buddies, Campo and Kina. Campa and Kino. Campa and

52:54.305 --> 52:57.435
Kino. And then El Mariachi like walks up next

52:57.483 --> 53:01.242
to them. So we got the 3 dudes and again, they're being shot at immediately.

53:01.355 --> 53:04.616
Oh yeah. The limo comes up. Yeah. They're getting

53:04.648 --> 53:07.266
blasted at. But if you don't care about the bullets,

53:08.407 --> 53:10.527
act like you don't need the shit and they give you the shit for free.

53:10.977 --> 53:13.017
Act like you're not going to get shot and you will not get shot.

53:13.081 --> 53:15.181
There you go. I don't know which one is Camp and which was Kino.

53:15.245 --> 53:17.666
I didn't, I didn't double go back and double check, but like whichever one's got

53:18.166 --> 53:21.529
the bazooka guitar case, when he gets down into that stance with the leg out

53:21.577 --> 53:24.912
like he's a catcher about to throw down to second base, I love it every

53:24.944 --> 53:27.973
time. He does it every time he shoots that thing. He's gonna get braced,

53:27.989 --> 53:31.500
you know, this sounds so good. Okay, so we had one guy has 2 guitar

53:32.000 --> 53:35.043
cases which just have machine guns that shoot directly out of the guitar

53:35.543 --> 53:38.569
case. So he's holding it by the guitar case handle and every time he'll like

53:39.069 --> 53:42.545
kind of flip it up, the sounds of it cocking and reloading, very satisfying.

53:42.881 --> 53:46.200
The rocket launcher guy, really, really good guy. Really great stuff.

53:46.408 --> 53:49.678
Because he also sort of just, you know, hoists it up and

53:49.774 --> 53:53.093
pulls it down and you hear kachunk, like a loud sound of

53:53.593 --> 53:56.988
like, I guess another bazooka rocket getting placed into place.

53:57.180 --> 54:01.076
Like that doesn't work like that for sure, but still. And he fires like 4

54:01.576 --> 54:05.211
or 5. So many bazooka rockets, like oh my God. And the machine gun guy,

54:05.404 --> 54:08.626
again, he's just kind of waving them around. Oh, very haphazard.

54:08.930 --> 54:12.008
Those handles are not super fixed to the case.

54:12.072 --> 54:15.759
So it's not gonna like directly correlate to how the

54:16.259 --> 54:19.865
case itself is turning. Give there. Yeah, it's bad. And plus, how heavy

54:20.365 --> 54:23.362
is that fucking thing? But I don't care, it's awesome. It was very cool to

54:23.862 --> 54:26.362
see these guys, and we just get these guys for a very short period of

54:26.862 --> 54:30.581
time. Yep. The rocket launcher guy ends up getting hit and shooting his rocket

54:31.081 --> 54:33.292
straight up in the air, right? And then it just comes down, lands on his

54:33.404 --> 54:36.596
face, and while the other guy is walking away

54:37.096 --> 54:40.767
and just kind of gives like a, a very subtle wince of like, oh damn,

54:40.799 --> 54:44.040
my best friend got killed, oh well. And then he gets taken out

54:44.698 --> 54:47.877
Immediately, you know, uh, and the kid got shot. Yes,

54:47.989 --> 54:51.136
the kid caught astray. Little Benito caught astray.

54:51.602 --> 54:55.375
And but now, but Carolina now has stolen one of the trucks that Bucho's

54:55.875 --> 54:58.490
men showed up in, and like they're throwing the kid into it and they're driving

54:58.586 --> 55:01.829
off, uh, uh, you know, whatever, to get him to a hospital. Yeah,

55:02.150 --> 55:05.329
so they do take him to a hospital, and you know, these people start working

55:05.345 --> 55:08.861
on the kid or whatever, and Mariachi leaves because he and Carolina have some

55:09.361 --> 55:12.483
unfinished business to attend to. To. So they go up to Bucho's compound. She knows

55:12.515 --> 55:14.752
where it is, so he says, you know— or no, she actually is like,

55:14.833 --> 55:16.667
I don't think this is it, are you sure this is it? This is definitely

55:16.699 --> 55:20.165
it. Um, again, we don't— we still don't understand the connection. Yeah, we don't know

55:20.665 --> 55:24.815
Mariachi and Bucho, but they go inside, uh, seemingly unarmed,

55:24.912 --> 55:28.407
you know, whatever. And there is Bucho and like what, 10 henchmen? Yeah,

55:28.455 --> 55:31.236
along with his like girl henchman, whatever, he's like lieutenant now.

55:31.831 --> 55:35.144
And because the other right-hand man was killed by— in, in the,

55:35.226 --> 55:37.983
the shootout with— they ran him over with— they ran over the car, which is

55:38.016 --> 55:41.943
pretty go, uh, with the Jeep. So, but now, but he was— and, and they

55:42.023 --> 55:45.372
recognize each other. Bucho and Mariachi recognize each other, and Bucho says,

55:45.807 --> 55:50.026
Benito. So his name is also Benito, which I think

55:50.526 --> 55:51.326
is an interesting choice to have the kid now. His name Benito. Benito and Cesar,

55:51.456 --> 55:54.899
I think. So they start talking to each other like, yeah, they're brothers. Bucho is

55:55.093 --> 55:58.943
Mariachi's older brother Cesar. Um, there's a bunch of sort of like family

55:58.975 --> 56:02.217
squabble and like, Dad this, and like, whatever, you killed a bunch of my men

56:02.717 --> 56:04.680
and Dad wouldn't be proud of you anymore, and da da, all this kind of

56:05.180 --> 56:08.222
stuff. And he basically, Bucho basically is to make this even, I'll call, I'll wipe

56:08.722 --> 56:10.546
the slate clean between us if I just, you just let me kill Carolina.

56:10.834 --> 56:12.902
Yeah. Kill her, I'll kill her in front of you and then we'll be even.

56:13.799 --> 56:17.630
And then so what happens next is definitely

56:18.367 --> 56:20.611
one of the things I have an issue with. Yes. In the movie. Yeah.

56:21.188 --> 56:24.282
He does another one of his really cool, the guns come outta my sleeves

56:24.314 --> 56:26.750
kind of moment. He's got the 2 and he points and bang, bang, bang.

56:27.824 --> 56:31.286
And then we cut to bedside at the hospital and little Benito and Mariachi

56:31.786 --> 56:33.819
is there and Benito wakes up and Benito's Dad shows up and it's a sweet

56:33.835 --> 56:37.045
moment. Yeah, how the fuck did they get out of there? How did they get

56:37.545 --> 56:41.123
out of Bucho's compound? For as much as we've seen in this film, you can't

56:41.220 --> 56:46.021
yada yada the final— yeah, you know, you have to like— because

56:46.133 --> 56:49.649
yeah, that situation— or are we to believe that the henchmen were

56:50.149 --> 56:53.776
just like, oh well, Bucho's dead, I don't work for anyone anymore, so go ahead

56:54.276 --> 56:57.276
and pass? I can't— it seems like he would have had to take everyone out.

56:57.437 --> 57:00.620
I would have liked at least one shot of them leaving the place. It's fine,

57:00.701 --> 57:02.781
you don't have to show the whole shootout. We've had a lot of shooting,

57:03.846 --> 57:07.039
budget limitations, whatever. Walk out of that with a bunch of

57:07.539 --> 57:10.721
like dead bodies and maybe like one guy mopping, you know? Like, I want to

57:11.221 --> 57:13.616
see— I want to see some carnage in the aftermath. Because yeah, that's a good

57:13.632 --> 57:16.349
point, because we don't know like what happened there. And I can't imagine that,

57:16.462 --> 57:20.472
that whoever's left doesn't kill him. And here's the reason: with Bucho dead,

57:20.811 --> 57:23.963
one of them gets to run— comes the guy. Yeah, but you still don't want

57:23.980 --> 57:27.358
this guy hanging out. He's been killing all these people, like whatever. So it's very

57:27.858 --> 57:31.111
strange. It never gets any kind of explanation. I think it was just honestly it

57:31.611 --> 57:33.766
feels very much like a thing where Robert Rodriguez was like, I don't fucking know

57:33.782 --> 57:36.534
how they would get out of there, but I need them to, so we're just

57:37.034 --> 57:41.172
gonna cut to the hospital. So yeah, so that thing is, you know,

57:41.431 --> 57:43.872
how did they survive? But anyway, that's now,

57:45.311 --> 57:48.450
Mariachi leaves, walking down the dirt road, you know,

57:48.530 --> 57:52.290
the sort of deserted highway. He's got the guitar case and Carolina drives up

57:52.386 --> 57:55.761
behind him and is basically like, hey, I got nowhere to be now since

57:56.261 --> 57:58.320
my bookstore got blowed up, and will you wanna hang out? And he's like,

57:58.336 --> 58:00.022
hey, we got a free car. Yeah, we got the car. So he throws the

58:00.522 --> 58:03.960
guitar case, like, yeah, like I'm done. Son. Yeah, gets in the car with her.

58:04.009 --> 58:06.862
I think they kiss, like, whatever, and she drives off, and then they back back

58:07.362 --> 58:10.976
up to go get the guitar case. He goes, just in case. Yeah, one of

58:11.008 --> 58:14.173
the, um, one of the things they repeat between, uh,

58:14.944 --> 58:18.415
Carolina and El Mariachi is he'll say, uh, did I ever

58:18.915 --> 58:21.197
thank you? Yeah. And she'll be like, no. He'll be like, I will. Yeah,

58:21.213 --> 58:25.043
you know, that's right. So, uh, yeah, they come back for the guitar case

58:25.075 --> 58:29.054
and drive off into the sunset. And, um, just that part's fine.

58:29.135 --> 58:33.062
I'm fine with that part. Yeah, that's okay. They really speed up the this

58:33.562 --> 58:36.587
though. Yeah, so, uh, yeah, that is Desperado. And then we just go

58:37.087 --> 58:40.401
straight to the end. So it's like an hour 45, I think, you know,

58:40.513 --> 58:44.070
decent length for the movie. But we could have had a 5-minute

58:44.103 --> 58:47.355
scene of that final battle easily if there was— if there was a real

58:47.484 --> 58:50.785
way to get them out of that compound, we could have seen it. There was

58:51.285 --> 58:53.813
definitely time to spare, you know, like this movie does not suffer from an extra

58:54.313 --> 58:57.178
5 minutes of gunplay, right? It would have been— would have been welcome.

58:58.123 --> 59:01.494
All right, that is Desperado. Nick, you brought this to the table, so let's get

59:01.994 --> 59:05.768
your rating first. Oh man, uh, you know, despite the issues— because

59:05.832 --> 59:09.190
I'm— I agree with you that towards the end,

59:09.206 --> 59:12.885
I mean, kind of like starting with the, the sex scene, which I'm not complaining

59:12.982 --> 59:16.516
about, um, but it did kind of like— it felt, I don't know,

59:16.597 --> 59:19.955
rushed, or just it wasn't as well put together.

59:20.212 --> 59:23.457
And as like just a visual experience of sitting back and letting

59:23.522 --> 59:26.622
something cool wash over you, this movie's very enjoyable. Enjoyable to watch.

59:27.056 --> 59:29.785
It goes fast. There's not a lot that drags. I mean, there's not a ton

59:30.285 --> 59:32.804
I would, I would cut out. There's maybe some stuff I would add, right?

59:32.852 --> 59:36.368
I don't think there's any acting that's noticeably bad. Like, everyone is— everyone's

59:36.868 --> 59:39.933
pretty solid in it. Things, things generally look good. Yeah. Um,

59:41.009 --> 59:44.557
I would recommend watching this, I think, especially to see

59:44.878 --> 59:47.977
kind of the evolution of like, how do we get to John Wick? Yeah,

59:47.993 --> 59:51.751
this is kind of like one of the steps that gets us to this

59:51.846 --> 59:54.892
action star that we have. And like, a lot of these creative sequences that are

59:55.392 --> 59:58.418
happening during the gunfights are inspired by this kind of stuff. And I'm sure

59:58.918 --> 01:00:01.864
Rodriguez is inspired by all these other people, but it's nice to see like an

01:00:01.960 --> 01:00:05.855
evolutionary John Wick a little bit. Yeah, this was a lot of fun,

01:00:06.272 --> 01:00:10.039
and I, I think it's— I think it's worth a watch. I'm gonna give Desperado

01:00:10.055 --> 01:00:13.276
a 3.5 out of 5. All right, very nice. I would say, just to double

01:00:13.325 --> 01:00:15.889
up on the John Wick thing you mentioned, I feel like even if you're just

01:00:16.389 --> 01:00:19.383
looking at American films, which the John Wick stuff is obviously clearly inspired by Hong

01:00:19.883 --> 01:00:21.840
Kong Hong Kong cinema as well. But if you were just looking at American movies

01:00:22.340 --> 01:00:25.501
and you watched Desperado, uh, The Replacement Killers with Chow Yun

01:00:25.517 --> 01:00:28.969
Fat, and, uh, Kill Bill, and you watch those three movies and

01:00:28.985 --> 01:00:32.437
then John Wick, you would feel a very natural progression of style, I think,

01:00:32.453 --> 01:00:35.166
through those first three movies and like the way they're choreographed and the way that

01:00:35.666 --> 01:00:39.228
they're stylized, uh, and whatever. And I think it's— and frankly, I am a huge

01:00:39.261 --> 01:00:42.809
fan of the John Wick films, so yeah, very much, they're wonderful. Um,

01:00:42.953 --> 01:00:45.378
not as big a fan of this film if I'm just being totally honest.

01:00:45.762 --> 01:00:48.678
Uh, it was enjoyable. It's an action movie. I can absolutely turn my brain off

01:00:48.726 --> 01:00:51.867
for action movies. The problems that I had with it really were,

01:00:52.075 --> 01:00:56.096
even in an action movie, um, like for instance in Commando, where the

01:00:56.596 --> 01:01:00.454
character should absolutely be getting shot more often than he is and kind of whatever,

01:01:00.679 --> 01:01:04.027
I felt like everything was a little more consistent though. The character still acted

01:01:04.527 --> 01:01:07.136
like the characters that were, that were set up, you know, like John Matrix does

01:01:07.232 --> 01:01:10.564
things that you'd expect him to do based on previous stuff. When Bucho said,

01:01:10.821 --> 01:01:13.785
make it look like an accident, that ripped me out of the movie right away.

01:01:13.881 --> 01:01:17.614
It really was I was like, excuse me, I beg your finest fucking pardon,

01:01:17.710 --> 01:01:20.547
why does he give a shit about looking like an actor? Doesn't make any sense.

01:01:20.675 --> 01:01:23.383
And then it's so funny, the things that can pull us out of movies,

01:01:23.399 --> 01:01:26.059
you know, that really stick with us. There was that, and then it was like,

01:01:26.139 --> 01:01:29.391
you know, the fact that he was dressed completely immediately after the sex scene was

01:01:29.568 --> 01:01:32.148
interesting. I mean, not as bad, but you know, all these little things that added

01:01:32.648 --> 01:01:34.920
up until you get to the end, which by the way, the whole brother thing

01:01:35.192 --> 01:01:38.557
I thought was like, ugh, really? That, that did seem too much

01:01:38.637 --> 01:01:42.724
like— and I wonder when this stuff happens, is is it just

01:01:43.224 --> 01:01:46.475
an unoriginal generic thing, or is it an homage to all the classic

01:01:46.975 --> 01:01:49.697
movies always had the guy end up as his brother? Because you could read it

01:01:50.197 --> 01:01:53.143
both ways, sure, but it doesn't make me like it anymore, really. I don't care

01:01:53.643 --> 01:01:56.638
that much. And if that's the, the call or whatever, like, I am not personally

01:01:56.734 --> 01:01:59.972
familiar enough with the movies that it's sort of like referencing or whatever to really

01:02:00.472 --> 01:02:02.954
understand that. And that's on me, that's not on Robert Rodriguez. Uh, in general,

01:02:03.146 --> 01:02:05.566
I, I'm kind of on the fence as to whether I'd recommend this. If you're

01:02:05.582 --> 01:02:08.211
a big fan of action movies and you haven't seen Desperado, yeah,

01:02:08.675 --> 01:02:11.646
See it, it's a good action movie. You know, like I said, Salma Hayek and

01:02:12.146 --> 01:02:15.054
Antonio Banderas are both incredibly sexy in this, and a lot of great gunplay,

01:02:15.071 --> 01:02:18.303
a lot of good gunfights, you know, good humor from Cheech Marin and

01:02:18.803 --> 01:02:21.847
Quentin Tarantino and Steve Buscemi. There's great funny little moments too, but I'm a 2.5

01:02:22.347 --> 01:02:25.070
out of 5, okay, uh, on Desperado. It definitely kind of comes just under that

01:02:25.570 --> 01:02:28.775
bar of like clearly a recommendation for me. Uh, you said 3.5, right? Yeah,

01:02:28.791 --> 01:02:32.159
so 6 out of 10, uh, from the 2 Dads on Desperado.

01:02:32.777 --> 01:02:36.916
And let's see, that brings us up to 1996. Oh, you got '96?

01:02:36.981 --> 01:02:40.619
I got '96, and I I believe that

01:02:41.119 --> 01:02:43.734
that means we're going to go to L.A. Okay. We're going to go to L.A.

01:02:43.814 --> 01:02:45.998
And I've got such— it's going to be fun when we talk about it next

01:02:46.498 --> 01:02:48.278
week's episode because I have such a connection to this movie that I'll get into

01:02:48.310 --> 01:02:51.296
then. But basically, we're going to go to Los Angeles. We're going to meet with

01:02:51.796 --> 01:02:55.278
some sort of— what's the word— aspiring

01:02:55.455 --> 01:02:59.244
actors trying to make their way through the L.A. dating scene of the

01:02:59.744 --> 01:03:03.258
mid-'90s. This movie really launched several careers. Not, not that they

01:03:03.758 --> 01:03:05.933
were the first movie movie for these people, but like really kind of put them

01:03:06.433 --> 01:03:08.850
on the map as like, maybe these guys are not side characters, right? Or could

01:03:08.899 --> 01:03:12.219
be stars. So Jon Favreau and Vince Vaughn both really hit the scene

01:03:12.719 --> 01:03:16.680
in this movie. And we're gonna watch 1996's Swingers, uh, which was a lot

01:03:17.180 --> 01:03:19.882
of fun. I, I have not seen it in several, several years, probably 10 or

01:03:20.382 --> 01:03:22.453
15 years since I've watched it. But this— there was a time this was one

01:03:22.953 --> 01:03:24.458
of those movies I would watch like on a monthly basis. Yeah, a while,

01:03:24.975 --> 01:03:27.352
uh, in high school and in college. Um,

01:03:27.966 --> 01:03:31.089
another depiction of like what thought cool. Oh yeah,

01:03:31.461 --> 01:03:34.630
absolutely. Yes, 100%. And this, you know, they got the zoot suits and the wallet

01:03:35.130 --> 01:03:37.589
chains and they're doing the beautiful baby this and that, and there's a whole bunch

01:03:37.621 --> 01:03:40.559
of misogyny that's not gonna hold up. But I was thinking about it actually this

01:03:40.672 --> 01:03:43.489
morning before we came in to do this. I think it's okay because even then

01:03:43.908 --> 01:03:47.595
those characters being that way were not meant to be liked. They were

01:03:48.095 --> 01:03:50.695
being shown to us as like, these guys are doofuses. Yeah, yeah, these guys are

01:03:51.195 --> 01:03:53.656
dipshits. Like the whole movie ends with, you know, well, we'll get into it,

01:03:53.672 --> 01:03:56.346
but like, but it'll be interesting to like kind of look at it with the

01:03:56.427 --> 01:03:59.522
lens of today and look back at swingers. So that's what we'll watch next week.

01:03:59.749 --> 01:04:02.830
Awesome. I can't wait. Very much fun. All right.

01:04:02.895 --> 01:04:06.051
That's a wrap. If you like what you heard, please consider heading over to Apple

01:04:06.551 --> 01:04:09.288
or Spotify and leaving us a 5-star review. It helps new folks find the show.

01:04:09.757 --> 01:04:12.914
Be sure to check out our website at 2dads1movie.com. That's the number 2 and

01:04:13.414 --> 01:04:15.811
the number 1. There you can explore the movies we've covered, sign up for our

01:04:16.311 --> 01:04:19.431
newsletter, The Rewind, and even get sneak previews of upcoming episodes. Once again,

01:04:19.447 --> 01:04:22.512
this has been Desperado, another episode 2 Dads 1 Movie.

01:04:22.641 --> 01:04:25.262
I'm Steve. And I'm Nic. Thank you so much for listening, and we'll catch you

01:04:25.762 --> 01:04:25.942
next week. Thanks,