From the $7,000 “El Mariachi” to last year’s almost $200 million “Alita: Battle Angel,” Robert Rodriguez movies are infused with the energy of someone messing around with a camera in their backyard.
The best (e.g.
“The Faculty”) make that fun infectious and the worst (“Sin City: A Dame to Kill For”) suffer from taking themselves just a bit too seriously, but all of them retain the kind of giddy and un-precious love of the game that Hollywood tends to snuff out of people as soon as they get there.
It’s probably no coincidence that the Austin-based Rodriguez has always made Hollywood come to him instead — a dynamic he solidified by reincorporating his Troublemaker Studios in 2000 — and the stuff he’s produced there ever since has doubled down on that DIY sensibility in a way that feels admirable even when the movies themselves don’t work out.that combines major
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