Mexico Trilogy, The: El Mariachi, Desperado, and Once Upon a Time in Mexico (4K UHD Review)

Reviewed by: Tim Salmons
Review Date: Feb 25, 2025
Format: 4K Ultra HD

Director

Robert Rodriguez

Release Date(s)

1992/1995/2003 (August 27, 2024)

Studio(s)

Columbia Pictures/Sony Pictures/Dimension Films (Arrow Video)

Film/Program Grade: See Below
Video Grade: See Below
Audio Grade: See Below
Extras Grade: A
Overall Grade: B+

Review

One of the more interesting aspects of Robert Rodriguez’s Mexico films from the 1990s and into the early 2000s is how ingrained they are in that era, mostly in their styles and sensibilities. El Mariachi may have put Rodriguez on the independent filmmaking map, but it’s the least aggressive in terms of style, featuring the most straightforward story, as well. Desperado is a slicker re-telling of that same story while also operating as a sequel, and Once Upon a Time in Mexico throws both of those previous films out the window for a semi-convoluted narrative involving a number of characters. The Rodriguez house style also evolved over the course of the three films, and by the time he had made the third one, it was completely over the top, in a way that was somewhat detrimental to the final product. Known collectively as The Mexico Trilogy, Arrow Video has packaged all three films into a 4-Disc Blu-ray/4K Ultra HD boxed set.

1992’s El Mariachi (released theatrically in the US in 1993) is a fiercely independent, Spanish language neo-Western about a nameless, wandering mariachi (Carlos Gallardo) looking for work in a small corrupt town. After being mistaken for the vengeful assassin Azul (Reinol Martínez), a local drug lord, Moco (Peter Marquardt), sends multiple hit men after them, neither party sure of who is who or what’s going on. El (as he would become known in the series) hides out in a quiet bar and subsequently falls in love with its owner, Domino (Consuelo Gómez), taking matters into his own hands as tries to survive Moco’s relentless onslaught.

In retrospect, El Mariachi is the most approachable film in The Mexico Trilogy, mostly because it’s the simplest. It features multiple characters like the follow-up films, but the focus is squarely on El and his relationship with Domino. Rodriguez chose to use amateur actors, but none of them come across that way, which is a testament to them and to Rodriguez’s direction. Everything feels truly lived in as we’ve essentially stepped into another world, one that takes place in the present day, but never bearing the weight of the outside world. This is Moco’s territory, and El must learn to navigate and fight his way out of it. Because the film was shot on such a low budget, it’s a little rough around the edges, but Rodriguez shoots and edits effectively, allowing the action to flow naturally, while still having a visual voice. In many ways, El Mariachi is the best of the three films because it takes its time and isn’t crammed with otherwise useless stylistic elements.

After the film’s success, Robert Rodriguez would helm the TV movie Roadracers for Showtime before returning his attention to the violent world of El for the sequel, Desperado. Released in 1995, it became the most popular the film in the series, mostly due to the casting of Antonio Banderas, who takes over the leading role. El, now bent on vengeance, seeks out Bucho (Joaquim de Almeida), Moco’s boss, in another shady small town, overrun by tourists. By chance, El meets Carolina (Salma Hayek), the beautiful owner of a local bookstore, who aids him after his initial deadly encounter with Bucho’s men. They quickly fall in love and Carolina attempts to convince him to give up his quest for vengeance, but Bucho has other plans, for both of them.

While most would put forth that Desperado is the most entertaining of the three films in the series, it tends to go overboard with some of its humor. This time around we’re treated to a more recognizable cast, including Cheech Marin, Steve Buscemi, Danny Trejo, and Quentin Tarantino, but it’s a much schlockier and tongue-in-cheek romp than an introspective Sergio Leone-esque experience. The juxtaposition of tourists coming in and out of the bar, in one case demanding to speak to the manager in a very American tourist kind of way, is off-putting in an otherwise laid back Western environment. The real draw is Antonio Banderas and Salma Hayek, whose chemistry is off the charts, keeping you plugged in, even during the sillier moments. Unfortunately, Joaquim de Almeida’s Bucho is not as effective a villain as Peter Marquardt’s Moco, who along with some of the previous cast, actually came back to re-create the ending of the first film with Banderas, giving the series some fairly strong continuity. Fun performances and action set pieces outshine many of the weaker elements, and for most, Desperado is the peak of Robert Rodriguez’s career.

Before returning to the series for what Rodriguez would describe as his attempt at an epic The Good, The Bad and the Ugly closer, he would make From Dusk till Dawn, The Faculty, and two films in the Spy Kids series before tackling 2003’s Once Upon a Time in Mexico. Banderas and Hayek return, but the film is bulked up with an expansive cast and multiple story threads. This time around, El is hiding out in a small village where he’s found and recruited by CIA officer Sands (Johnny Depp) to take out General Marquez, who has been hired by the crime lord Barillo (Willem Dafoe) to assassinate the President of Mexico. Years before, Marquez killed Carolina and El’s daughter, leaving him a broken man. Meanwhile, Sands also hires Cucuy (Danny Trejo) to keep an eye on El, AFT operative Ajedrez (Eva Mendes) to spy on Barillo and his right hand man, American fugitive Billy Chambers (Mickey Rourke), and FBI agent Ramírez (Rubén Blades) to actually kill Barillo. El soon brings in his fellow deadly mariachis Lorenzo (Enrique Iglesias) and Fideo (Marco Leonardi) for help, leading to a bloody showdown during Dia de Los Muertos.

If any of that sounds confusing, you’re not alone. Once Upon a Time in Mexico’s biggest weakness is its story, or stories. There are far too many characters opting for the narrative’s attention, focusing less on El and more on a larger scale storyline. Matters aren’t helped that Carolina has been killed offscreen before the story even begins, despite Hayek returning for a couple of flashbacks. The usual enjoyable action set pieces are here, even though nobody seems to be able to shoot anyone and actually land a hit, even if they’re right in their sights. In the scheme of things, it’s a long-standing cliché that you can overlook. This isn’t realism after all, it’s a romp. There’s not much breathing room either as the film has a running time of 102 minutes, and most scenes are wrapped up pretty quickly. Once Upon a Time in Mexico is fun to a certain extent, but it’s not a fitting end for the El Mariachi character because of how bloated it is, to the point that it doesn’t work as a whole.

El Mariachi was shot by Robert Rodriguez on 16mm film using Arriflex 16S cameras with Kinoptik Tégéa and Angenieux HEC lenses, finished photochemically, and blown up to 35mm in the aspect ratio of 1.85:1 for its theatrical release. Arrow Video has been provided with an existing HD master of the film, presented on a dual-layered BD-50 disc. It’s a much older master than I expected when I popped it in. It’s filled with large chunky grain (as to be expected since it’s a 35mm blow-up), but maintains a bitrate that sits mostly between 30 and 40Mbps. Detail and color are ideal, though black levels aren’t all that impressive, particularly in the shadows more so than on objects or clothing. Mild telecine wobble is present, as are frequent scratches and speckling. It’s the same familiar high definition presentation of the film that’s been around for a couple of decades, but it definitely needs a fresh scan of the original elements.

El Mariachi features audio in Spanish or English 2.0 LPCM with optional subtitles in English or English SDH for the Spanish track and English SDH for the English track. Like the video, there’s nothing new here, but each track offers decent stereo separation and good support for the dialogue and music, with mild hiss prevalent on the English track. As far as performance is concerned, the Spanish track is the better option as the English track sounds very studio-bound.

Desperado was shot by cinematographer Guillermo Navarro (with Rodriguez mostly operating) on 35mm film with Arriflex cameras and lenses, finished photochemically, and presented in the aspect ratio of 1.85:1. Arrow’s presentation is a new 4K restoration from the original camera negative carried out by Sony, which was approved by Robert Rodriquez, graded for High Dynamic Range in HDR10 and Dolby Vision, and presented on a triple-layered BD-100 disc. By default, this is the best-looking transfer of the lot with solid levels of grain, an enormous boost in fine detail, and a bitrate that sits mostly between 90 to 110Mbps. The film’s gorgeous warm palette is dutifully enhanced by the HDR grading, with Dolby Vision giving extra muscle to the black levels. Contrast is perfect with deep shadows and the overall image is clean and stable. It’s virtually perfect.

Audio for Desperado is provided in English 5.1 DTS-HD Master Audio and English 2.0 LPCM, with optional subtitles in English SDH. The film was released in Dolby SR and Sony Dynamic Digital Sound, depending upon where you saw it, of course, and those are likely represented well enough here. Both tracks are very similar with amazing surround activity and excellent support for dialogue, but the stereo option is mixed ever so slightly wider, mostly in terms of score. Both options have strong LFE response during shootouts and explosions, giving the soundtrack plenty of bite, but also taking time for subtle ambient moments. You can’t go wrong either way. Sadly missing is a Spanish language option, which was included not just on the 1996 LaserDisc, but most optical-disc based options over the years.

Once Upon a Time in Mexico was captured by Robert Rodriguez on HDCAM digital video using Sony HDW-F900 and CineAlta HDC-F950 cameras with Panavision Primo lenses, finished as a 2K Digital Intermediate, and presented theatrically in the aspect ratio of 2.35:1. Arrow’s presentation is also an older HD master carryover in 1.78:1. Despite not being included in the original theatrical aspect ratio, this is still a fine presentation, even if it does look a little chintzy compared to the previous two films, mostly in the opticals and video-based titles. Some of the latitude and detail associated with higher resolution cinematography is absent, but overall, the film has a decent sharpness to it with good color and fine contrast. Blacks are fairly deep and the image is stable throughout. Hopefully, someday we’ll see a newer, higher quality presentation in the theatrical aspect ratio for home consumption. Rodriguez specifically chose not to frame the film at 2.35:1 for home video because of the consumer stigma at the time surrounding letterboxed presentations, aka, “the black bars.” Since he explicitly states in the extras that the Scope presentation is his preferred look for the film, it’s high time to rectify that.

Audio for Once Upon a Time in Mexico is included in English 5.1 DTS-HD Master Audio and English 2.0 LPCM with optional subtitles in English SDH. The film was released in DTS, Dolby Digital, and Sony Dynamic Digital Sound, depending upon where you saw it, so the tracks included with this presentation likely represent that well enough. Both have excellent fidelity, especially in the lower registers when it comes the more boisterous aspects of the soundtrack, including gunfire and explosions. Dialogue exchanges and score are perfectly audible, as well.

EL MARIACHI (FILM/VIDEO/AUDIO): B+/B-/B+
DESPERADO (FILM/VIDEO/AUDIO): B+/A+/A
ONCE UPON A TIME IN MEXICO (FILM/VIDEO/AUDIO): C+/B+/A

Arrow Video’s 4-Disc 4K Ultra HD and Blu-ray release of The Mexico Trilogy is presented in 2 clear Amaray cases for El Mariachi and Once Upon a Time in Mexico and a black Amaray case for Desperado, all containing double-sided artwork and posters featuring new artwork by Paul Shipper on the front and the original theatrical artwork on the reverse. Also included is a double-sided poster with different new artwork by Paul Shipper on one side and a painting of El by Robert Rodriguez on the reverse, plus a 40-page insert booklet containing cast and crew information for each film, the essays Bad Hombres, A Tragic Hero, and the Never-Ending Quest for Freedom by Carlos Aguilar and Robert Rodriguez: Rebel With a Plan by Nicholas Clement, transfer and restoration information, and a set of production credits. Everything sits in sturdy slipcase packaging with a thin slipcover, also containing the same new artwork by Paul Shipper. The following extras are included on each disc:

DISC ONE: EL MARIACHI (BD)

Introduction by Robert Rodriguez (HD – :19)
Audio Commentary by Robert Rodriguez
Big Vision on a Low Budget with Robert Rodriguez (HD – 14:41)
The Original Mariachi with Carlos Gallardo (HD – 15:21)
A Band of Misfits: The Music of El Mariachi (HD – 12:41)
Ten Minute Film School (SD – 14:38)
Bedhead (1991) (HD – 9:09)
Theatrical Trailer (HD – 1:38)
TV Spot (SD – :31)

The introduction by Robert Rodriguez is at the front of every film in this release, wherein he basically encourages viewers to check out the new extras. His audio commentary, recorded in 1993 for the Columbia TriStar LaserDisc, is just as informative and entertaining as the rest of the extras, including new interviews by Elijah Drenner with Rodriguez, Carlos Gallardo, and the film’s co-composers Chris Knudson, Eric Guthrie, Mark Trujillo, and Alvaro Rodriguez. Also included is Rodriguez’s original Ten Minute Film School discourse on how the film was shot and edited together, his 1991 short film Bedhead, and a trailer and TV spot. In a future edition, it would be nice to also have Rodriguez’s full original video edit of the film as an extra, as well as some of his and Gallardo’s other short films.

DISCS TWO & THREE: DESPERADO (UHD & BD)

Introduction by Robert Rodriguez (HD – :19)
Audio Commentary with Robert Rodriguez
Lean and Mean with Robert Rodriguez (HD – 17:19)
Shoot Like Crazy with Bill Borden (HD – 11:21)
Kill Count with Steve Davison (HD – 8:10)
Lock and Load with Bob Shelley (HD – 8:50)
Game Changer: The Influence of the 10 Minute Film School (HD – 6:42)
Ten More Minutes: Anatomy of a Shootout (SD – 10:33)
Morena de mi Corazon (Textless) (HD – 2:39)
Theatrical Teaser (HD – 1:34)
Theatrical Trailer (HD – 2:05)
TV Spot (Upscaled SD – :33)

Another excellent audio commentary with Rodriguez recorded in 1996 for the Columbia TriStar LaserDisc release is included, as are a number of new interviews by Elijah Drenner, speaking separately to Rodriguez, producer Bill Borden, stunt coordinator Steve Davison, and special effects coordinator Bob Shelley about the film. Game Changer speaks to The Raid director Gareth Evans about Rodriguez’s influence on him as a filmmaker. In Ten More Minutes, Rodriguez details being prepared by storyboarding and rehearsing scenes before filming. Last is the opening Antonio Banderas/Los Lobos number Morena de mi Corazon without titles over it, plus the film’s trailer and a TV spot.

DISC FOUR: ONCE UPON A TIME IN MEXICO (BD)

Introduction by Robert Rodriguez (HD – :19)
Audio Commentary by Robert Rodriguez
The Revolution Will Be Digitized with Robert Rodriguez (HD – 12:41)
Troublemaking with Evan Maniquis (HD – 9:50)
Deleted Scenes with Optional Commentary by Robert Rodriguez (HD – 7:47):
- Sands Phones Dead Man (HD – :45)
- Mariachi in the Desert (HD – 2:07)
- Sands Outside Restaurant (HD – :48)
- Goat Milk, Cold (HD – 1:05)
- Sands on Internet (HD – :42)
- One Arm (HD – :40)
- Jorge (HD – 1:08)
- Spy Dog (HD – :36)
Ten Minute Flick School: Fast, Cheap, and in Control (SD – 9:05)
Inside Troublemaker Studios (SD – 11:24)
Ten Minute Cooking School: Puerco Pibil (SD – 5:50)
Film Is Dead: An Evening with Robert Rodriguez (SD – 13:20)
The Anti-Hero’s Journey (SD – 18:05)
The Good, The Bad & the Bloody: Inside KNB FX (SD – 19:04)
Theatrical Trailer (Red Band) (HD – 2:37)
Theatrical Trailer (Green Band) (HD – 2:19)

The 2004 audio commentary with Rodriguez carries over here, along with a pair of new interviews by Elijah Drenner with Rodriguez and visual effects editor Evan Maniquis about the film and Rodriguez’s newfound passion for shooting digitally. Eight deleted scenes with optional commentary by Rodriguez further illustrate (at least for me) how less efficient this film is compared to the previous two. In Ten Minute Flick School, Rodriguez demonstrates shooting digitally and allowing for CGI enhancements. In Ten Minute Cooking School, he prepares Sands’ character’s favorite pork dish, Puerco Pibil. Inside Troublemaker Studios is a brief guided tour by Rodriguez of his base facility. Film Is Dead is a 2003 interview with Rodriguez before a crowd at Sony Pictures Studios. Next are a pair of Charles de Lauzirika-produced featurettes: The Anti-Hero’s Journey with Rodriguez, Antonio Banderas, Johnny Depp, Willem Dafoe, and Salma Hayek; and The Good, The Bad & the Bloody with Rodriguez, Depp, Shannon Shea, Greg Nicotero, Jake Garber, and Harrison Lorenzana. The former delves into filmmaking, the story, and the cast, while the latter details the special effects make-up work of KNB EFX. Last are a pair of trailers. Not included from previous releases is an isolated score audio track, a set of cast and crew biographies, a soundtrack spot, and interactive DVD-ROM material.

Though one would have preferred to have all three films in The Mexico Trilogy in 4K, this is still an excellent collection, with a fabulous UHD upgrade of Desperado. Arrow’s done some fine work here. Highly recommended.

- Tim Salmons

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