And yet, ultimately, he’s an individual on little more than a quest for fulfillment and love. Zane Holtz is thoroughly excellent in the role – cold as steel, calculated when in control, but regularly overcome by otherworldly influences beyond his comprehension. Rather than simply being a neurotic/psychotic nutcase with a penchant for wanton violence and the murder of defenceless women, Richard here is a tortured and conflicted soul, his impulses toyed with and manipulated by outside forces that regularly leave him confused, mentally drained, and no doubt covered in blood. In fact, one of the largest achievements of this new presentation is the much more intimate relationship between Richard and Santanico – one that stretches back through visions and ethereal visitations to a time much, much farther back than our entry point and serves to better round out the character originally brought to screens by Quentin Tarantino. Much more time is also given to developing the character of sizzling snake-dancer Santanico Pandemonium (González), taking the perspective of her from a seemingly malignant, succubus-like influence on Richard in the early stages through to a rather more sympathetic creature. As Carlos, Wilmer Valderrama chews up the scenery in a performance that lies just on the wrong side of hammy – obviously having fun with the material, but falling victim to the sporadically wonky script at some of the least appropriate moments. ![]() Rather than his tiny bit-part in the original film, the Gecko Bros’ contact, Carlos, is set front and centre as the villain here, their coming together at the ‘Titty Twister’ being just one part of his nefarious plan for domination over not just Seth and Richard, but his own ancient people. The character roster is afforded the temporal luxury of the television format for deeper insights into their personalities, and just about every main player gets their time in the sun (not literally, though, depending on their origins). The aforementioned change from straight-up vampires to snake people (despite Rodriguez’s hints that he originally thought of it that way, the movie’s creatures were distinctly more bat-like) is initially a bitter pill to swallow and in the early stages threatens to undermine proceedings with an overly goofy presentation – but it soon becomes more comfortable in its new skin as the series develops its deeper, fresh mythology. have changed a number of things while digging deeper into others – some to greatly pleasing effect and some to needlessly overwrought levels. ![]() While the main flow of this particular story’s first time on our screens remains solidly in place here, Rodriguez and Co. ![]() Unfortunately, the bulk of their troubles have only just begun as it is soon revealed that the bar is in fact just the topmost section of an ancient Aztec temple that serves as the home and feeding ground of a race of vampire-like snake people. With the worst seemingly behind them, the Geckos and Fullers arrive at the amusingly-titled ‘Titty Twister’ – a biker bar in the middle of the desert that remains open from dusk ’til dawn – and sit down for a few well-earned drinks while awaiting further instruction from Carlos. Leaving a trail of bodies in their wake as they make their way across the Mexican Border to meet up with their shady ’employer’, Carlos (Valderrama), the boys take Christian preacher Jacob Fuller (Patrick) and his two kids – Kate (Madison Davenport) and Scott (Brandon Soo Hoo) – hostage in an attempt to use their family-style RV as a Trojan horse through checkpoints. Thankfully, a disaster it is not – sufficiently devoted to the source material to remain closely familiar, but packed with enough new and expanded content to make it its own distinct animal.įrom Dusk Till Dawn chronicles the exploits of infamous criminal duo Seth (Cotrona) and Richard (Holtz) Gecko, who are forced on the run after a botched bank heist culminates in an explosion-filled shootout with the local police force. From the beginning, it seemed like a concept that could quite easily be a total disaster: taking the core story and narrative path of Robert Rodriguez and Quentin Tarantino’s 1996 genre mash-up From Dusk Till Dawn and spreading it out across a full ten-episode television season.
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