The expectation was more favorable than the result. When it was announced that Robert Rodríguez would be wrapping up his mariachi trilogy with Once Upon a Time in Mexico and the cast was being led by Johnny Depp, the benefit of the doubt was geared toward idealizing a great movie . But all that excitement vanished upon the film’s release in 2003, and a majority of moviegoers were disillusioned, among other factors, by the appearance of Enrique Iglesias.

What did a Spanish pop singer have to do there who was far from being a movie actor? What was the need to include it in the film? Endless questions and criticism have been leveled at the director for giving Iglesias a role in the story, despite being minor and unimportant.

In your defense, fans of the singer and moviegoers who detract from the film have claimed that at least noticing Enrique Iglesias presence was , indeed, the script was headless nonsense that did not offer the same quality as its predecessors, The mariachi Yes Desperado.

The entertainment press also took the task of defending the inclusion of Iglesias because it represented a triumph to reach Hollywood, even if no matter that his career is related to the music called “commercial” and not play acting , even less to cinematography.

For many it was and is one of the worst jobs as the director of Terror on the planet . They consider that he exceeded the limit of his style and in the end he did not know how to compensate for the excesses, which was reflected in a film where Antonio Banderas, Danny Trejo and Salma Hayek stopped watching as they had done it in Desperado.

At the time, after the film’s promotional tunes were released, the worst thing to vilify her before seeing her was the revelation that Enrique Iglesias had acted on her. However, after seeing him in theaters, outrage at seeing the singer on the big screen took a back seat.

He may or may not have been in the movie and it didn’t matter. The damage itself, depending on the boredom of its premiere year and subsequent years, was the film itself due to its failure, a work by Robert Rodríguez currently on Netflix.

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