“Dogwashers” (in Spanish, “Lavaperros”) (Colombian; 2021; dark comedy/crime drama; run time 1 hour, 47 minutes; directed by Carlos Moreno, written by Andres Rios; rated TV-MA; streaming on Netflix) is a sluggish, graphic, Tarantino-influenced drug lord story that grasps for irreverence but only occasionally reaches it. Though it features numerous characters whose stories converge in the predictably bloody ending, it primarily is the tale of Don Oscar (Christian Tappán), a balding, chubby, crack-addicted narco whose power is fading and empire crumbling (as is his mansion). Like everyone else in this movie, he owes a debt. Dubernay (Marlon Perez Cruz), the young upstart drug dealer, would like to see Oscar pay that debt. But Oscar has pride or something and refuses, which means, of course, that those in Oscar’s inner circle have the life expectancy of a housefly (a man who also owed Dubernay meets a terrible fate in the opening scene, so we know he means business). There will be blood (and empty bullet chambers) as various characters (Oscar’s enforcer, the hefty religious fanatic Bobolitro; Yoiner, a young gardener who just wants to get his moped out of hock; Milton, Oscar’s righthand man and his wife’s secret lover; and Freddy, Oscar’s driver and a man with mixed allegiances) take turns thinking they will somehow get out of this mess. “Sometimes it’s your life or everyone else’s,” Oscar says, and he literally means EVERYONE else’s. Women fare poorly in these things, and here they are either brutally murdered, ignored, pregnant from someone not their husband, working as housekeepers or turning tricks at an advanced age. The “dark comedy” part isn’t always obvious but delivers on occasion. Two characters who best qualify as “comic relief” only loosely fit into the story; two men posing as construction workers at a home across a field from Oscar’s and obviously officers surveilling the place have random conversations about such matters as hemorrhoids and Jesus’ fishes and loaves miracle, but why? Religious imagery is significant throughout. And the ending, even if the bloodshed can be seen coming an hour-and-a-half away, is the most interesting part of the movie; it involves a holy roller and an all-female death metal/punk band serving as a strange, noisy backdrop for the carnage. It’s too bad the movie took its sweet time getting to the good stuff. My rating: 56 out of 100.