Lady Gaga makes her big screen acting debut in Machete Kills and the chameleonic pop vixen is a perfect fit for Robert Rodriguez’s blood-soaked sequel.
Not only is the film festooned with scantily clad femmes in revealing costumes but Kyle Ward’s script repeatedly looks for shock value in every outlandish set-up.
Consequently, one henchman is sucked into the blades of a helicopter by his own intestines and another group of underlings is eviscerated into glistening entrails by the outboard motor of an airborne speedboat.
Anything can, and does, happen in Rodriguez’s anarchic caper, including a ludicrous sci-fi finale recycled from late 1970s James Bond. Unfortunately, all of the gratuitous bloodshed and high-velocity hijinks are dull and repetitive.
Machete Kills puts the tat in Mex-ploitation, the frankenword coined by writer-director Rodriguez to encapsulate his Latin-flavoured homage to exploitation films of the 1970s and 1980s.