Washington Post by Hal Hinson

This brilliantly naive, low-budget shoot-'em-up presents every action as if it were brand spanking new.

Chicago Reader by Jonathan Rosenbaum

Juicy, adroit, and likable.

Austin Chronicle by Marc Savlov

While the story may be a common one (for the action genre, at least), Rodriguez, who wrote, produced, shot and edited the entire film himself, has a uniquely straightforward wit that makes what might otherwise have been just another shoot-'em-up something more than that.

ReelViews by James Berardinelli

A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.

Chicago Sun-Times by Roger Ebert

Enormously entertaining.

TV Guide Magazine

The unrelenting tempo is bolstered by Rodriguez's camera work and editing: nearly every frame seems to have been shot with a careening, handheld camera, and they're cut together in a skillful, fluid fashion that enhances the tension and pace of the 80-minute chase.

The New York Times by Janet Maslin

Mythic pulp has its allure, and it also has its limitations. El Mariachi displays no real emotion except a profound appreciation for the genre film making that has inspired it, and a delight in manipulating the elements of such stories.

Variety

Spanish lingo crime meller has a verve and cheekiness that's partly a smart wedding of such influences as Sergio Leone, George Miller and south-of-the-border noir.

The New York Times by Elvis Mitchell

Mythic pulp has its allure, and it also has its limitations. El Mariachi displays no real emotion except a profound appreciation for the genre film making that has inspired it, and a delight in manipulating the elements of such stories.

Variety by Staff (Not Credited)

Spanish lingo crime meller has a verve and cheekiness that's partly a smart wedding of such influences as Sergio Leone, George Miller and south-of-the-border noir.

TV Guide Magazine by Staff (Not Credited)

The unrelenting tempo is bolstered by Rodriguez's camera work and editing: nearly every frame seems to have been shot with a careening, handheld camera, and they're cut together in a skillful, fluid fashion that enhances the tension and pace of the 80-minute chase.

Entertainment Weekly by Ty Burr

Rodriguez makes the same mistake as other first-time auteurs: The world of this movie exists only in relation to other movies, particularly the Sergio Leone-Clint Eastwood spaghetti Westerns of the early '60s.