Whatever the case may be, of course, the lesson of the day in this instance, boys and girls, is that it would appear that even Robert Rodriguez has already reached his nadir – without really trying. The cynic, on the other hand, might cry out racism. I suppose the artist-type could cite the differences in style between the three. Tarantino has already managed to reach that period in his career where even some of his biggest fans have lost their faith in his abilities (also see: Ridley Scott, George Lucas), poor Roberto seems to get overlooked whenever his contemporary is referenced his name usually replaced by that of Eli Roth. Rodriguez never seems to get as much recognition as his pal, despite they were practically cut from the same cloth. Sadly, putting aside the occasional hit like Sin City or Machete (and I should emphasise that these are hits by the filmmaker’s standards), Sr. Though the original movie was not a particularly successful item in theaters eighteen years ago (or even when it was first released on home video, wherein I enjoyed a very brief admiration for the title I picked it up on DVD and, later, Blu-ray, but never actually revisited the film in either format), it nevertheless developed a cult following – perhaps because of the movie’s sheer outrageousness (a tense hostage drama involving two murderous crooks and a grieving pastor’s small family turns into a campy, gory vampire flick by the end), but probably because of the Tarantino factor more than anything. Which leads us to Robert Rodriguez’s television series remake/reboot/reimagining of his 1996 feature film, From Dusk Till Dawn, which he co-made with Quentin Tarantino and makeup guru Robert Kurtzman. And while those viewers who predominantly consider themselves to be of the artistically inclined nature may see these reboots, remakes, and reimaginings as a good thing, the more cynical individual will be more likely to believe said filmmaker has either run out of ideas, or is just trying to milk a product for everything it’s worth. In other instances, they revisit their work to expand and completely alter the entire storyline – which, in-turn, changes the very universe the original item in question was set in (see: Ridley Scott, George Lucas). Sometimes, these visual poets do so solely with the intent of correcting a few things that have irked them since then (see: Ridley Scott, George Lucas). At some point in time, it seems rather inevitable that a filmmaker may return to a completed project from their early years.
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