Robert Rodriguez was part of the wave of indie directors that emerged from the Sundance scene in the early ’90s and reshaped American cinema
Series: Robert Rodriguez
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Spy Kids: Armageddon (2023)
Was I too hard on Spy Kids 2 and Spy Kids 3?
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Shorts (2009)
The Robert Rodriguez kiddie digital filmmaking experience remains a half-coherent, sugar-coated blast of prepubescent id.
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We Can Be Heroes (2020)
We Can Be Heroes, the Robert Rodriguez return to family entertainment, is not quite good, but it is far more competent and watchable than I feared, especially given the car crash that was the Spy Kids reboot.
Calling The Adevntures of Sharkboy and Lavagirl “ugly” is a grave understatement.
There were certainly worse ideas in 2011 than rebooting the Spy Kids franchise. It’s a film concept that’s easy to refresh: recruit a new batch of charming kid actors, update the gadgets for the new era, weave in some family values, and spin up a kooky spy-fi premise.
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Machete Kills (2013)
I did not watch Machete and think “that movie left a lot on the table.”
Spy Kids 1 delivered on multiple competing genre fronts: a family-bonding adventure, a kiddie spy-action thriller, a light satire, and a digital editing/CGI showcase. Overall, a precarious, well-executed balancing act.
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Spy Kids 3-D: Game Over (2003)
Nathan Rabin’s legendary My Year of Flops feature on AV Club groups bad movies into three categories:
I haven’t seen Grindhouse, but my understanding is that it works as more than the sum of its parts, crafting a fantasy B-movie universe to dive into.