Interspersed with hard hitting violence, lashings of chilli-hot sexual couplings and some hilarious one-liners from Gandolfini, De La Iglesia fails to find a suitable conclusion to a well-scripted, well directed and mostly enjoyable story.For the book by John Eldredge, see Wild at Heart (book). If the film has a flaw it can be found in the violent ending. In truth, Perdita Durango could be accused of stealing heavily from any number of sources - Natural Born Killers, El Mariachi, From Dusk Till Dawn, Kalifornia - but its equal measure of style and substance place it over and above its contemporaries. Bardem comes across as part-devil, part-Lothario in a pleasingly subtle performance. Perez excels as Perdita, eradicating any memories of the irritating chainsaw-like squeaking voice that has ruined many of her previous cinematic outings. Perdita and Romeo head across the Mexican border pursued by the Mob and a hapless FBI agent Dumas (James Gandolfini) as the kidnapped couple are forced to endure sexual abuse and increasingly erratic behaviour from the demonic couple as the film races towards the expected cataclysmic finale. The action is set around an embryo deal gone sour coupled with the abduction of two wholesome American virgins. She meets her soulmate in Romeo (Bardem) a handsome bank/ grave robber who shares Perdita's penchant for tribal sacrifices, extortion and ritualistic Santero (voodoo). Perez plays the title role of the wild superbitch (the Isabella Rosselini character) who gets her kicks from wholesale slaughter and perverse sexual activities. Perdita Durango goes some way to replicating the intense violence and steamy storyline of David Lynch's famous predecessor.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |