A different way of telling a story

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

A mysterious man, known only as "The Man" (Adkins) arrives in the small Mexican town of El Fronteras with a duffel bag filled with cash. He finds the town less than hospitable, and as the local gang tries to steal his loot, through a series of flashbacks, we find out how he got into this predicament. With Lt. West (Slater) of the New Mexico police crossing the border to go hot on his trail, The Man has plenty to contend with, but with the help of local barmaid Anna (Yates) he just may ride off into the sunset with everything he wants. But can this happen in such a violent place? Sadly, very sadly, we found El Gringo to be a disappointment. You'd think having Scott Adkins and Christian Slater in a movie together would be a surefire winner that could overcome any potential drawbacks elsewhere. It turns out that assumption was incorrect, and you know what happens when you assume. The problem is, it's weighted down with those annoying modern, overly-slick editing tricks that we're not in love with, to say the least. Why directors and editors feel they need to do this remains unknown. (It should be noted that the editor's name is Don Adams, and he does indeed need to get smart). They must think it's helping, but it's really, really not. With a bunch of quick cuts, seizure-inducing flashes, CGI all over the place, and self-consciously "wacky" music and situations, the movie dooms itself. The whole outing has a vibe that it's trying super-hard to be cool, but it's trying too hard. All it had to do was let the magic of Adkins and Slater happen. And get out of the way. But its obsession with being a post-Tarantino irony-laced jaunt puts the kibosh on that.And it had so much potential for being genuinely cool. The movie sabotages itself by setting up a potentially cool situation, then squelching it, almost out of spite. So it sets itself up for failure, because even if something awesome does indeed happen, the overall tenor ruins it, because you can't go back and un-see what uncoolness you just saw. And at 103 minutes, it wears out its welcome. Besides having to witness the character of "The Man" (which isn't at all stolen from Sergio Leone) in a variety of situations frustrating to him, the viewers also get frustrated. The whole thing has a distasteful Missionary Man (2007) vibe, and director Rodriguez even made a movie with Dolph, Stash House (2012), which is acknowledged to be one of Dolph's worst, even worse than Missionary Man.Of course, Scott Adkins is always boss, and he does execute some outstanding moves on the baddies in the beat-em-up scenes, but, ultimately, it's very hard to care. Despite some classics like the "walking away from an explosion" and the "sideways jump/dive while shooting", it's just not enough this time. Even the fruit cart cliché is here. But a dud in the Adkins canon was bound to happen eventually, as he has had a long string of winners, and no actor, or gambler for that matter, has had an unbroken streak. But perhaps the most unsettling thing about this particular Adkins performance is that his distinctive British accent is gone, in favor of an unnecessary American voice. Just another El Gringo misstep, it seems.Speaking of missteps, there's the matter of the title song. One of the best and most noteworthy aspects of the movie was the song by Manowar, but it's only heard during the end credits. It would have been awesome to hear it during a shootout or training sequence. But no, another wasted opportunity. Despite the titans Adkins and Slater, there's actually very little to recommend about El Gringo, as much as it pains us to say it.

Even clichés can be nice to watch. So while the title is talking about a "stranger/foreigner", the plot itself is actually pretty common. You might have seen similar stories told and some even in a better fashion (hopefully). But this still is a lot of fun, if you let it. There are some nice little visual tweaks here and there and the editing style is all over the place too. It might not be your taste, but you can't fault the movie for trying.Scott Adkins delivers again and you can see why he sort of revives the 80s action movie style almost by himself. He has that kind of charisma and I don't mean that in a degrading way. The dog sub story is good and even Christian Slater isn't a big letdown as he was in his last couple of movies ...

Giving this film even a 1 makes me shudder. I have never seen such bad acting, heard such cheesy lines, looked at so many ugly people, sweaty boobs, or stupid townspeople on film. And that's just the OK folks. Even the dog was a loser. I want my thinking cap back, I lost it somewhere in this terrible mess of a movie. If there is a bath to be had in town, it's somewhere over the horizon that no one attempts to locate. And who wants to take a bath next to animal bones anyway. Wait, those ugly, dirty, sweaty boobs people, and their loser dog just might.Nasty, grimy, horrible, just awful, and those are the good points of this film.

Venezuela-born director Eduardo Rodriguez isn't related to Texas native Robert Rodriguez. Nevertheless, Eduardo's violent crime thriller "El Gringo" resembles Robert's crime thriller "El "El Mariachi." As far as that goes, "El Gringo" looks like the Mel Gibson savage shoot'em up "Get the Gringo." The chief difference here is that the Scott Adkins' hero is a lawman on the prowl. He crosses the border because he wants to and winds up in the cartel owned town of El Fronteras, Mexico. Gibson played an amoral gunman who preferred Mexican justice to California. Eduardo proves that he can stage machine gun shoot outs, physical hand-to-hand combat, and to handle them in a manner that accentuates the action with a multi-media approach. This is a lively, entertaining epic with a body count and a wisecracking Christian Slater in a supporting role as a tenacious New Mexican detective. The opening scenes show our hero stumbling into Fronteras looking for a drink of water. At one point, he tries to pay $500 for a glass of water!