There is something really quite gruesome about the task assigned to "Romeo" (Javier Bardem) by his gangster boss "Santos" (Don Stroud). He is to organise a smuggling operation to bring foetuses across the border so they can be used by the cosmetics industry. Before he can undertake his mission, though, he must obtain a suitable person to sacrifice to his voodoo like god and so now allied with the alluringly ruthless "Perdita" (Rosie Perez) they set off to essentially kidnap someone off the street. Unfortunately for them, "Estelle" (Aimee Graham) and her rather drippy boyfriend "Duane" (Harley Cross) are the couple they select and so, terrified, are taken back to the couple's lair for some sexual abuse, voyeurism and a good old feathering - before the knife is to be wielded. Naturally, the behaviour of "Romeo" and his boss hasn't escaped the authorities and so with the feds (Alex Cox), her dad (the scene stealing Roger Cudney) and one of his own former partners who's got debts coming from every pore also chasing down the couple is there any hope that the youngsters can avoid ending up like exhibits at Tenochtitlan? Now Álex de la Iglesia hasn't exactly worried about giving anyone here much depth to their character, indeed we know precious little about either "Perdita" or "Romeo" before fate and their libido threw them together for a turbulent relationship that proves almost as dangerous for them as it does for just about everyone they meet. I didn't think that really mattered though as this is really just a vehicle for some darkly comedic excess delivered entertainingly by a Bardem who really looks like he is enjoying himself as he shags and shoots his way through a life riddled with bloodthirstiness and (not terribly realistic looking) unborn babies. It's that very uncomfortableness that I enjoyed here. It's as far from politically correct as you can get and it studiously avoids turning this story of witchcraft and smeared sheep skulls into an other routine Hollywood tale of tempered debauchery. There are few holes barred here and the lithely charismatic Perez makes sure that "Perdita" gets her fair share of the spoils, too. It's gritty and grim, and by his sheer force of personality Bardem takes us on a road trip that can make you squirm at times and that isn't afraid to expose hypocrisies about sex and venalities of just what can be traded if there really is a market. No snakes, though...!