It’s a testament to the power of Gandolfini’s charisma that he’s able to turn a character without depth or any real reason to do what he does into an engaging screen presence. The cops are represented by James Gandolfini’s Dumas, who pursues Perdita way out of his jurisdiction, despite being run over by cars more than once, attacked by an assassin, and barely surviving a shootout with Romeo and several criminal compatriots. The show ends up being botched, and so all four go on the road, trying to keep ahead of the cops and keep the rendezvous with that truck full of fetuses that has to get across the border. Perdita and Romeo kidnap them, tie them up, and mutually rape the youngsters before deciding which of them should be the star of the night’s show. Their kidnap victims are the two most milquetoast they can find, a couple of middle class kids out for a night on the town and who find a trip to hell. That enthusiasm is, unfortunately, for evil. That character was a force of nature, while Romeo is more human, and filled with a kind of thoughtful enthusiasm. Javier Bardem plays Romeo, an early venture into portraying a sociopath with weird haircut that he perfects in No Country for Old Men. Rosie Perez plays Perdita as a ball of venomous anger, glaring at everyone with barely concealed contempt. These are the protagonists of Perdita Durango, Alex de le Iglesia’s English language debut from 1997. But he’s still ready to kidnap some kids for his woman that night. Romeo, the boyfriend in question, has an important drug deal to set up and an even more important assignment right after: he has to deliver a cargo of fetuses to Las Vegas where they will be turned into skin cream for the wealthy. So she wants to kidnap and murder some people for the next ritual. An important key to understanding Perdita Durango, the character: her boyfriend is a bank-robbing Santeria priest who, in front of a crowd, chops up dead bodies, throws their parts into a stew, drinks it, and spits it into his audience’s faces.
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