In geek dictionary, the term "grindhouse" refers to a genre of '60s and '70s exploitation film; the sex-and-gore drenched fare that played in derelict urban cinemas and drive-in theaters. Among the devotees eating it all up with a big fat spoon and promising to give plenty of respect years later were Quentin Tarantino and Robert Rodriguez. Doing what they do best, giving respect to a disreputable genres, the two filmmakers team up once again; this time not just to give love to a dumped on genre, but to replicate the entire experience- including the crappy, broken projectors, missing film reels, sleazy décor and rotten drive-in speakers. Being a drive-in baby, I too loved every minute of it, unaware of the crappy equipment and surroundings. Those days are highly romanticized indeed looking through the lens of nostalgia as I was too young to notice the scratched film, missing frames, hair in the lens and burn marks, or the lousy sound speakers that sounded muffled and flat. The true film geeks they are and true lovers of American pop culture, Tarantino & Rodriguez have brought all those memories back and thanks to modern technology have even replicated the awful accouterments right down to the “missing reel” gag.
Just like those days of yore, we get a double-bill of action, violence, a little sex and plenty of explosions- at least in the first feature. “Planet Terror” wears its B movie sleaze-origins as a badge of honor, not only does it give a reverential nod to the types of films it’s winking at and the overall experience, but it manages to be a damn fine movie. The film kicks off with a scientist (Naveen Andrews, Syid of “Lost”) who has created a chemical weapon that turns normal civilians into brain eating monsters. Bruce Willis makes cool cameo as an army platoon leader, who has been infected by the virus, but has managed to survive by breathing in a temporary vaccine, kicks off a dispute between the scientist and his platoon causing the chemical to be released. The very specimens the platoon were told to pick up, have now escaped. Brain-eating monsters and a deadly chemical in the air settles into the local town surrounding the army base making for some wild, gruesome fun. For reasons unknown, some of the town’s people are immune to the chemical, but manage to band together and try to make it out alive. Taking cues and inspiration from just about every zombie movie made, RR makes his best film to date. Funny, sleazy, sick, smooth, the film is effortlessly fun as it takes the B movie genre to new heights by making the best John Carpenter film in over a decade, right down the attitude and especially the music. A liberal helping of “Night of Creeps”, “John Carpenter’s The Thing,” Romero’s “Night of the Live/Dawn of the Dead, Day, Land” and “Slither,” the film is given plenty of film geek creditability (cameo from Tom Savini helps!) while kicking us in the gut with gore, humor and violence from the first fade in.
With tongues firmly planted in cheeks, the film takes it all serious just enough to get the plot rolling with the actors having a total blast, yet they don’t wink or camp it up, they have fun with the material, they don’t make fun of it, the hospital sequence with Nicky Katt as an infected redneck is solid fried gold! Rose McGowan, as Cherry, gets the showiest part as a stripper who gets a her leg amputated after being infected with the nasty bio-menace, then replaced with a machine/missile launcher that leads to the film’s most entertaining moments and is exciting as it is absurd as she hopes around mowing down hordes of flesh-craving zombies. Plot wise the film follows familiar territory, as they did with their previous collaboration, “From Dusk till Dawn” drops together the ragtag survivors who hate each other, but because their survival depends on it, put aside their pettiness. Even the character archetypes are well traveled, but the key is the acting and everyone is pitch perfect. Michael Biehn as the town sheriff is his trademark cool, but shows his humorous side, as he plays the clichéd, indignant hard-ass who refuses to let the hero, El Wray (Freddie Rodriguez) have a weapon. Tarantino makes a hilarious cameo as Rapist #1 who tries to do bad things to Cherry the Stripper and he of course meets a disgusting bad end.
Often the consternation of many horror fans, CGI has become the whipping boy for all that is wrong in modern horror films. That sentiment is well deserved with crap like "Under World", but not here. Its use is subtle, most of the time its there to give the explosions more ump or add more zombie nasties to the background. The practical effects are what sell the movie giving it a look that’s intentionally retro- cheap, yet convincing while at the same time it shows off its healthy budget with the impressive action scenes. The most violent movie I’ve seen in many years has no problem in trying to make its viewers sick, although it’s all done in comic book style over-the-top theatrics, its still impressive, creative and gross. Popping goo filled pustules, spewing innards and genitalia being torn off, QT & RR show their sick glee for the superiority in practical effects by making the best damn homage ever made. Kudos and props for both filmmakers as this is their best film together. The Fake Trailers One of the greatest experiences in the movie theater was watching these fake trailers get sincere reactions from people who thought they were real coming attractions. Fun all the way around.
Written and Directed by RR, Danny Trejo stars as the no name anti-hero in the tradition of Charles Bronson and Jan-Michael Vincent’s “The Mechanic”, is fantastic right down to the over-the-top violence, crappy stunts, gratuitous nudity and sleazy production values.
Director Eli Roth give a nod to the slasher genre that took hold in the late 70’s/early 80’s. Replete with everything those crappy trailers had; bad editing, an ominous voice-over, the awful music and showing too much. The best work Roth has ever done-hack.
The best title is from Director Rob Zombie who has the most fun with the best title as he skewers the exploitation classic, “Ilsa, She-Wolf of the S.S.” by casting his wife, Daphne Moon, as the titular character who turns into a werewolf and happens to be a member of the S.S. Seedy and fun, look for the inspired cameo by Nicholas Cage as Fu Man Chu. The film looks better than anything Zombie has churned out, especially the dreadfully misguided “Halloween” remake.
Edgar Wright, “Shawn of the Dead” writer/director creates a wonderfully retro, crap-fest that fits nicely next to any film of the original era.
It was bound to happen. Director Quentin Tarantino has finally revealed to the world that he is just like the rest us mere mortals and puts his pants on one leg at a time. Having enjoyed all of his previous flicks, this was a sobering experience to witness a film god’s fall from grace. His worst film to date, DP stumbles in ways that it shouldn’t and never really recovers. This movie had everything going for it, the God Kurt Russell, several white hot muscle cars and Tarantino’s love for trash cinema. Unfortunately the bad outweigh the good as the Kurt has limited screen time and frankly, even he with his fantastic powers can’t polish this colossal turd.
The film starts off slow and crawls as a snails pace until we meet Stuntman Mike (Russell), a lecherous, middle-aged, smarmy man-child who probably has a shrine to Burt Reynolds built in his bedroom- oh yeah, he just so happens to be a serial killer of young, unsuspecting woman. With his limited charm and fading good looks, he lures the women into his car and proceeds to kill the women by crashing his supped up muscle car, his first is a black 1969 Dodge Charger. Trivia fans note, his second car, has a rubber duck, (“Convoy” reference) as a hood ornament. Having watched the film twice, I now know it’s not me; it’s the sloppy writing that does DP in. Tarantino has always been in love with the words he writes, most of the time it works to great effect, all of his films have pages of brilliant, astute dialogue filled with great pop culture references and pointed observations- so not the case here. DP starts off with some of the worst female characters in recent memory. Always good to see Jordan Ladd get work, it’s what they say that’s so maddening, because they don't say anything. ALL of their dialogue is instantly forgettable. None of the trademark Tarantino wit and verbal jousting is evident, long passages of meaningless, stupid conversations waste precious time. I felt I was listening to 14 y/o babysitters bitching about their boyfriends. Never once do they come off three dimensionalbe and likeable, instead they seem more interested in boozing, gossiping and acting snarky rather than engage in interesting conversations. An odd way to go since we actually want to cheer Stuntman Mike on when he starts killing the ladies just so they will shut their damn gobs. I can see where Tarantino was trying to go, he wanted to flip the usual, woman in peril genre on its ear, make a new film for the current generation by empowering the women by showing they aren’t meek victims, yet still being nostalgic. A noble gesture, that quickly turns hollow as these chicks are chatty assholes we simply don't care about. I can not stress how much I hated this part of both films, both since DP is split in two and the second batch of female characters are not much better than the first batch in the dull department.
The only stand out is Kurt Russell who gets all the great lines and shows off his trademark charm and charisma, (Big Trouble in Little China 2- RIGHT NOW!) which is the only reason to watch this film as all of the girls are obnoxious as hell. Even in the stories second half, the girls refuse to talk about anything remotely funny or interesting.
Although Rosario Dawson has a great moment, confronted by a redneck hick who intends to do bad things she actually says, “Gulp.” The action shows up a little too late for those waiting is well staged and reminds the viewer of those great car chase flicks of the 1970’s, like the obvious inspiration, “Vanishing Point”, “Gone in 60 Seconds”,“Dirty Mary, Crazy Larry”,“Convoy”, “White Line Fever”, “Smokey and the Bandit” and “Hooper.” The final scene redeems things somewhat as Stuntman Mike is given his comeuppance and his reaction to it is priceless. Overall, “Planet Terror” is excellent, the fake trailers are inspired lunacy, but “Deathproof” is really to be avoided unless you are a fervent Kurt worshipper or muscle car fan as I am, second part has a stunning 1972 Dodge Challenger that is of course, abused and trashed, D’oh! Skip the girls talking as it will make you want to do bad things with your razorblade. Still I hope the boys aren’t discouraged by the film’s flimsy box-office as we need to see future installments of “Grindhouse” featuring these cool kids take on blacksplotation, Satan and kung fu flicks.