With all the hoopla over this weekend’s release of Iron Man 3 one shouldn’t overlook the release the following weekend of a little horror film coming in under the radar called Aftershock.
The film has Eli Roth producing and starring in it with Nicolás López directing it. The film is a fictional account of a group of Americans with their Chilean friend trying to survive the aftermath of the real-life massive 2010 earthquake in Chile.
From the look of this official red band trailer the film looks like it’s going to be quite bloody and gory. If there’s anything that Roth seems to know it’s blood and gore. Whether this film and its director will bring something else to the table will be determined upon the film’s release.
Aftershock is set for a North American release date of May 10, 2013.
Horror is still my first true genre love when things get boiled down to their most basic. 2013 looks to be full of horror films to more than satisfy my appetite for them. One such film that I’d be itching to check out is the Chilean horror-thriller titled Aftershock.
The film was co-produced by horror filmmaker Eli Roth who also had a hand in co-writing the script with Guillermo Amoedo and the film’s director, Nicolás López. The film is a fictional account of the aftermath of the 2010 8.8 earthquake in Chile and how a group of young partygoers try to escape the chaos of the city after the quake. Part of the film’s story uses the real-life prison breakout of prisoners after the quake and the resulting chaos in the damaged areas of the city.
Aftershock looks to be in the same extreme horror that the French have been helpful in making one of the newest trends in horror cinema. The trailer is not the glorious red band variety everyone has been waiting for but there seems to be enough hints throughout to show that Aftershock will not be a bloodless affair.
The film premiered during last year’s Toronto International Film Festival and the buzz surrounding the film has been quite positive. Unfortunately, there’s still no word on a release date in the US or anywhere for that matter, but it definitely joins Franck Khalfoun’s Maniac as one of my must-see horror films for 2013.
One thing that seemed destined the moment RZA (with his hip-hop group the Wu-Tang Clan) arrived on the scene in the early 1990’s was him finally making a martial arts film. Not just a martial arts film, but a wuxia kung fu film that he and the other in the Wu-Tang Clan had watched as kids and cotinued to obsess over as adults. RZA’s own brand of hip=hop was infused with many sound bites and track beats from the classic kung fu flicks of the 70’s and 80’s. Even the group’s name was taken from one of those very kung fu classics, Shaolin and the Wu-Tang.
Now RZA has teamed up with genre filmmaker Eli Roth to make his dream to a reality with the upcoming martial arts film The Man with the Iron Fistswhich RZA has directed from a story written by both him and Roth. It also stars RZA (making him a triple-threat in this production) with Russell Crowe, Lucy Liu, Rick Yune, Jamie Chung, Daniel Bautista and MMA fighter Cung Le. The fight choreography was handled by renowned martial arts fight choreographer Corey Yeun.
The first official trailer has now been released and it’s in awesome Red Band which shows just a hint of how ultra-violent the film will end up being. All I can say is that near the end of the trailer we get eyeballs!
This latest edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers was meant to have a theme. I was only going to include trailers of films that have been reviewed on the Hysteria Lives! website. Unfortunately, I ran in to some trouble with the New Year’s Evil trailer and I ended up going with a different trailer of a movie that hasn’t been reviewed on the site. So, yes, the theme kinda falls apart at the end. But anyway, let’s get things started…
Sergio Martino doesn’t get as much attention as Dario Argento, Lucio Fulci, and Mario Bava but he made some giallo classics and this is one of them. Yes, the trailer’s in Italian but stick with it anyway. Also, the person who uploaded this to Youtube, included another trailer — this one for Lucio Fulci’s Lizard In A Woman’s Skin— after the end of the Mrs. Wardh trailer.
You can tell that this trailer from 1981 isn’t messing around because the birthday cake gets it! I saw this movie on TV a few years ago. The brain surgery scenes really freaked me out. Another thing that freaked me out was a scene where all the high school snobs decided to spend their night at a special showing of High Noon. Why couldn’t I have gone to high school with a bunch of film snobs? Seriously, life sucks.
All together now: “Don’t. Don’t. Don’t. Don’t. Don’t…” With all due respect to the very hot Eli Roth, that was my favorite of the fake trailers from Grindhouse. Anyway, Don’t is not a real film but Don’t Open The Door is. Exploitation film of the 70s and the 80s were always trying to tell us how to live our lives. Don’t stand by the window, don’t look in the basement, don’t go in the house, don’t go into the woods…alone, and now, apparently we can’t even open the freaking door. This actually reminds me of this time that we were visiting my grandma and I was up in the attic exploring and I heard my sisters downstairs calling out my name because they couldn’t find me so I tried to open the attic door and I accidentally yanked off the door knob. Agck! That was scary. But I survived and here’s the trailer…
4) Body Count (1987)
I haven’t seen this one so all of my information on it comes from what I’ve read online. Apparently, this was Italian director Ruggero Deodato’s attempt to make an American-style slasher film so, of course, it takes place at a summer camp. David Hess is in this one and apparently, he’s not playing the killer for once. Former Russ Meyer star Charles Napier is in this one too. As for why I love this trailer, just listen to narrator at the end of the trailer when he starts tossing out various taglines. It’s as if the film’s producers were arguing about which tagline to use and finally someone said, “Fuck it, just toss them all in there! Now, shut up and behave! It’s time for dinner!”
Horror will surround you … and we’re not just talking about the acting. I love it when trailers dare you to actually sit through the entire movie. (And, I should add, that I own Scalps on DVD and, bad acting aside, it’s actually a surprisingly effective little horror movie.)
I wanted to include the trailer for a film called New Year’s Evil here but the only one I could find had this huge advertising logo across the bottom of it. But while I searched, I came across the trailer for another New Year’s horror film, Bloody New Year. And you know what? I’ve seen New Year’s Evil and it sucks and it had a really nasty sort of sadism to it that makes you feel dirty after you watch it. So, fuck New Year’s Evil. Now, let’s all have a Bloody New Year!
Finally, since that Lizard in a Woman’s Skin extra actually means that there were 7 trailers in this edition as opposed to 6, I’m going to add one more bonus trailer so that we can end things on an even number. There’s no way I couldn’t take the opportunity to include Edgar Wright’s brilliant fake trailer, Don’t.
Yes, technically, it’s the day before Thanksgiving but really, Thanksgiving has always been a three-day event. On Wednesday, you shop for stuff you need. On Thursday, you realize that you bought too much stuff that you need. And on Friday, you shop for stuff that you want.
So, anyway, since it technically is Thanksgiving today, let’s get things started with this little short film from the Kubrick of Gore, Eli Roth…
It looks to be grindhouse week. First we get Robert Rodriguez’s feature-length version of his fake grindhouse trailer Machete. A trailer created solely to give the Robert Rodriguez/Quentin Tarantino grindhouse/exploitation homage flick, Grindhouse, even more of that dingy grindhouse feel while it played in the theaters. While other fake trailers were shot and added to the film there was one which only saw a theater inclusion during Grindhouse‘s theatrical run and that would be Jason Eisener’s trailer (which beat out other amateur-made fake grindhouse trailers) titled, Hobo With a Shotgun.
Now with Machete set to come out this week on Sept. 03, 2010, the first teaser trailer for the feature-length film version of Hobo With a Shotgun has been released and exclusively for film site Ain’t It Cool News. Jason Eisener also directs this version, but with Rutger Hauer in the role of the Hobo instead of David Brunt who handled the role in the original trailer.
From the look of the film as seen in the teaser this particular flick definitely sticking to its grindhouse roots. This flick could almost be the homeless, perpetually drunk and angry cousin of another 1980’s exploitation action flick starring perpetually scowling and all-around badass Charles Bronson in Death Wish III.
Now, if Eli Roth can just get onboard this making the fake trailers become real flicks and do a feature-length version of his fake grindhouse trailer, Thanksgiving.
Many people have issues about remakes and reboots. They see it as unnecessary and a proof that the film industry has run out of ideas. I can’t say that either points have no validity to them, but I disagree with both.While all genres of film have had it’s share of remakes and reboots its the horror section of the film aisle which has seen the most. This shouldn’t come as a shock since horror has always been ripe for remakes. The stories in horror films have always been quite simple and producers take advantage of this by remaking them for a new generation. Take the simple set-up, change the time and setting with a new cast of cheap, unknown actors and you got yourself a horror flick which should make back its budget and make its filmmakers a profit.
While most horror remakes usually range from average to truly dreadful there comes a time when one comes out of the horror remake heap to actually show promise and quality not seen in its remake brethren. One such film is in the Alexandre Aja directed and Wes Craven produced The Hills Have Eyes. Aja’s The Hills Have Eyes is the rare horror remake in that its more than a match to Wes Craven’s original and, at times, surpasses it.
Alexandre Aja first burst onto the horror-cinema scene with his ambitious and grisly homage to grindhouse horror: Haute Tension. Haute Tension was one nasty piece of horror filmmaking which brought to mind 70’s and early 80’s horror exploitation and grindhouse mentality. Aja’s directorial debut was a no-hold-s-barred punch and kick to the stomach that was overtly violent and sublimely painful for the audience to watch. Aja was soon tapped by Wes Craven to lead the remake project of his own The Hills Have Eyes and to Aja’s growing reputation as a rising star of horror, he grew as a filmmaker and more than earned this reputation.
Aja’s The Hills Have Eyes follows pretty much the very same story and characters as the original. This remake has abit more of a political sense to its storytelling in that it doesn’t just pit the basic premise of civilized humans versus the primal inbred, mutant hill dweller, but also the different demographics of red state versus blue state. This theme was hammered through to the audience through the subsurface conflict between Big Bob Carter’s (well-played by industry veteran Ted Levine) red state gung-ho ex-detective and his son-in-law Doug’s (X2‘s Aaron Stafford) pacifist mentality. I think this new wrinkle in the original’s sparse and tight story was unnecessary and unsubtly done. I really didn’t want to know what political leanings and motivations the Carter family members followed. What I did care about was how they would react to the outside forces that was soon to menace and attack them.
The first half of the film was very deliberate in its set-up as it slowly built up the tension and dread as the Carter family’s journey through a supposedly short-cut through the desert put them closer and closer to the dangerous people who dwelt amongst the hills bordering the desert road. Once the family becomes stranded in the middle of nowhere the fun begins for horror-aficionados. For those who have seen the original this remake doesn’t deviate from the main story. The hill people who, up until now have only been glimpsed through quick shadowy movements across the screen, were the true cause of the family’s predicament attack in a brutal and grisly fashion. None of the Carter family members were spared from this attack. From Big Bob Carter, his wife Ethel, their three children, son-in-law and young granddaughter they all suffer in one form or another. The night attack on the camper is the main highlight of the film and shows that Aja hasn’t lost his touch for creating a horror setpiece that doesn’t hold back. From the brutal rape of the Carter’s youngest daughter Brenda to the sudden deaths of several Carter family members. This sequence was both fast-paced and chaotic in nature. It also helped push the definition of what constitute a very hard R-rating. Just like Zombie’s The Devil’s Rejects and Roth’s Hostel, The Hills Have Eyes pushed the limits and boundaries of what the MPAA has allowed so far in terms of on-screen violence when it was first released in 2006. I’m very surprised that some of the violence and deaths in this film made the final cut. This film definitely brings back the 70’s style horror.
The cast for this remake was one high point that the original didn’t have. Where Craven had a very inexperienced cast for the original film. Aja had the luxury of a bigger budget to hire a more competent and able group of actors. A cast that was led by Ted Levine who shined in his role as the patriarch of the civilized Carters. Kathleen Quinlan as the mother of the bunch soldiers on even though its almost predestined in films such as this that she would be one of the doomed. The two daughters as played by Vinessa Shaw and Lost’s Emilie De Ravin were quite good in roles that involved some very graphic rape sequences. Much kudos must go to De Ravin for having to perform through her scene during the trailer-camper attack. But the two actors who excelled in the film has to be pacifist turned avenging angel Doug as played by Aaron Stafford. We see in his character Doug the lengths a civilized human being would go through to survive and protect those he cares for. Even if this means resorting to becoming more brutal and primal than the inbred, mutant hill dwellers. It’s in Doug’s character where the basic premise of the clash of the modern with the primitive comes close to matching the same theme in the original. To a smaller degree this was also echoed in the Carter’s teenage son Bobby. Dan Byrd of Entourage plays Bobby Carter and its in him we see the level-headedness of the family. Despite all the horror and carnage he has seen the hill dwellers have inflicted on his family, Bobby remains somewhat calm and even-keeled to protect what is left of his family. The only drawback as to the cast itself was that the opposing family seemed to have been shortchanged. In the original we actually got to understand some of the motivations that drove the hill dwellers to prey on unsuspecting travelers through their area. In this remake the hill dwellers seem more like superhuman monsters and boogeymen. It didn’t bother me as much, but then it also lessened the impact of the story’s basic premise of civilization versus primitives.
Lastly, the look of the film helps add to the grindhouse nature of Aja’s remake. The film has an oversaturated look and feel that took advantage of the desert location and the high-sun overhead. This oversaturation of the film’s look also lends some credence to its grindhouse sensibilities. It looked, felt and acted like something made during the late 70’s and early 80’s. For most fans of horror it would really come down to the special-effects used to show the death and violence’s impact on the audience. Once again, Greg Nicotero and his crew at KNB EFX house show that they’re the premiere effects house. The make-up used to show the mutant effects on the survivors of the original inhabitants of the hills was excellently done. The same goes for the gags used to show the many brutal and messy deaths of both families.
There’s no denying that The Hills Have Eyes was all about pain when boiled down to its most basic denominator. This film is all about pushing the boundaries and piling on violence upon violence. The Hills Have Eyes is not a film that tells us violence solves nothing. Here it does solve the problem for the Carter clan and is also the only avenue of survival of the remaining Carters. The same goes for the nuclear survivors and their offspring who stayed in the irradiated zones that was their home. This film is all about survival and the levels and heights individuals would take to achieve it.
The Hills Have Eyes might not be the original second helping some have expected from Aja after his brilliant, if somewhat flawed first major film with Haute Tension, but it does show his growth as a filmmaker and his clean grasp of what makes horror cinema truly terrifying and uncomfortable. Two ingredients that makes for making a genre exploitation fare into something of a classic. I’m sure that outside of the horror-aficionado circles this film will either be met with indifference or disgust, but for those who revel in this type of filmmaking then it’s a glorious continuation of the grindhouse horror revival that began with Aja’s own Haute Tension, continued by Zombie’s The Devil’s Rejects, Roth’s Hostel and continues to live each and every year with the many direct-to-video releases of cheap, but very good horror films. It truly is a great time to be a fan of horror and Aja’s The Hills Have Eyes more than holds its own against Craven’s original.
Robert Rodriguez and Quentin Tarantino have always professed to anyone within hearing distance their extreme and fanboyish love for the grindhouse days of filmmaking. Both directors’ resume of work look like a modern grindhouse films but with better writing, effects and directing. Anyone who grew up watching grindhouse film’s of the 70’s and 80’s can see it’s heavy influence on films such as From Dusk Til Dawn, Desperado, Pulp Fiction and Kill Bill. With 2007’s Grindhouse, both Rodriguez and Tarantino take their fanboy love for all things grindhouse and exploitation to a whole new level with personal take on the cheap John Carpenter-knock offs, zombie gorefests, slasher film and revenge-driven flicks that made being a young kid during the 70’s and 80’s quite enjoyable.
For those who do not know what grindhouse films are they’re the ultra-cheap and, most of the time, very bad, shlocky horror, revenge, softcore porn, badly-dubbed kung fu flicks and a myriad of other B- to Z-grade movies. These movies were shown in dingy, decrepit (usually former burlesque stagehouses) movie houses which showed double to triple-bills of titles for a low, cheap price all day long (where the popcorn and concession snacks were as stale as week-old coffee). These places and their films were book-ended by the cheap drive-in theaters which grew out of the suburban sprawl boom era of the 60’s and 70’s. One could not avoid the fact that the projector equipment were in bad shape and in desperate need of maintenance while the films played out. Then there’s the film reels themselves with their washed out sequences, out of focus scenes, burnt-in spots and missing film reels where the sex scenes would’ve been. This was the grindhouse experience and with the rise of Hollywood as a corporate entity even moreso than it’s been in the past and urban renewal projects by big city leaders, the grindhouse experience has pretty much faded away and kept alive only in the memories of its fans worldwide.
What Robert Rodriguez and Quentin Tarantino have cranked out with their three-hour long opus to those grindhouse days has been both a literal and thematic homage to an era long since gone. Grindhouse also has allowed Rodriguez and Tarantino to pull out all the stops in filming their respective halves of the film. Rodriguez went all-out in paying literal homage to the zombie gore-fests of George A. Romero, Lucio Fulci and Umberto Lenzi. Planet Terror plays like a hodgepodge of all the zombie movies from these masters of the walking dead but Rodriguez has the use of digital effects to match the over-the-top feel of the past zombie-fests without making the effects look too cheap.
The story for Planet Terror is quite simple yet full of so many incoherent subplots that trying to keep track with whats going on would just confuse a viewer even more. Rodriguez gets the grindhouse feel with such a ludicrous storyline. Whether it was done on purpose or not, the feeling of confusion in addition to the non-stop zombie action was only compounded even more by the digitally-added film stock scratches, burns to the edges of the reel and when the movie was about to get all hot and sexy, missing reel footage. Anyone who watched movies in grindhouse theaters would recognize the look quite well. Rodriguez goes all out in letting his zombie fanboy out. The violence in Planet Terror begins strong and just gets stronger and even more over-the-top right up to the final frame. Zombie’s getting their heads blown apart is shown in scratchy, loving detail with an impossible amount of blood, bone and brain for people to gawk at. The female characters are hot and sexy. Rose McGowan as Cherry Darling holds Planet Terror together with her spunky go-go dancer dreaming to be a stand-up comedienne turning into Ellen Ripley minus a leg but gaining an M16A3 w/ M203 grenade launcher as a leg prosthetic. Freddy Rodriguez as El Wray, her wayward and mysterious lover, almost seem to be channeling a hilariously bad version of Snake Plissken. These two make for quite the explosive couple as they must try and save their small Texas town from the infected townspeople turned pus-oozing, boil-ridden zombies.
Planet Terror sports a nice collection of current B-list actors like Josh Brolin (making like a Nick Nolte at his growliest) and Marley Shelton as a pair of married doctors with marital problems compounded by the increasing amount of zombies their hospital seem to be bringing in for medical help. There’s also genre veterans Michael Biehn, Jeff Fahey and Tom Savini to give Planet Terror the appropriate grindhouse look and feel to it. Ever the good friend and buddy collaborator, Rodriguez even gives Quentin Tarantino a role in his half of the film. He’s shown in the credits for Planet Terror as The Rapist. If any director seem destined to be one, if their love for movies didn’t steer them on the right path, Tarantino seem to look just like one to be called “Tha Rapist”.
There’s explosion and gore galore in Rodriguez’s ode to the zombie genre. Some who sees it might say there’s too much and they would be right if the title of the whole film wasn’t Grindhouse. I, for one, am glad Rodriguez decided to not hold back with what he threw onto the screen. I’m sure that when the dvd finally comes out and the unedited full version of Planet Terror is shown it’ll even surpass the 85-minute running time in the film. I think I can forgive Rodriguez for his gore excess and at times I actually wished for more, but then that would mean taking even more time before I get to Tarantino’s half of the movie. Planet Terror truly got the look of a grindhouse flick, but it’s Tarantino’s Death Proof half which got the spirit of grindhouse down to near-perfect.
Before Tarantino’s Death Proof half of Grindhouse begins the audience gets treated to a sort of intermission involving three fake trailers for movies which celebrate just how ridiculously fun grindhouse movies really were during the 70’s and 80’s. There’s Rob Zombie’s Werewolf Women of the SS which was this weird mish-mash of the women-in-prison flicks with that of the infamous Ilsa: She-Wolf of the SS films that brought about the exploitation in grindhouse. This trailer was great just for the inspired casting of Nicolas Cage as Fu Manchu and Sybil Danning as one of the so-called SS women werewolves. There’s also Edgar Wright’s fake trailer for Don’t (director of Shaun of the Dead and Hot Fuzz) which parodies the trailers for all the gothic, European haunted and horror movies where none of the actors in the trailer speak a word to make sure the film doesn’t get labeled as a “foreign film”. But it’s the third trailer in that intermission trio which had everyone in the audience reacting wildly.
Eli Roth’s Thanksgiving is a throwback to the seasonal-themed slasher flicks like Black Christmas but this time turns the yearly, turkey day and Pilgrim celebration into a trailer with some of the most disturbingly inventive scenes for a fake slasher movie. I don’t know what the Pilgrim serial killer was doing with that turkey at the end of the trailer but I’m sure it will have many people talking about it afterwards. It’s this Eli Roth trailer which fully captures the gritty and gratuitious nature of what makes a grindhouse horror movie. It’s also the one fake trailer I hope Roth would re-visit and turn into a full-length movie.
Now, with the trailers out of the way, Tarantino’s half of Grindhouse begins and we’re treated to a different take on the grindhouse experience. Death Proof begins as if it will continue Rodriguez’s literal examination and homage to the grindhouse experience, but after messing with the film’s focus, adding a few film scratches to the celluloid and even adding a missing reel gag, Tarantino suddenly slows all those grindhouse trickeries and actually ends up making a rip-roaring slasher-revenge-carchase flick. Tarantino takes one part slasher movie adds in a heavy dose of his own Reservoir Dogs (the talking between the female characters in Death Proof are as foul-mouthed and trivial as the diner scene in Reservoir Dogs) then mixes in equal amounts of Vanishing Point, Faster Pussycat! Kill! Kill! and I Spit On Your Grave. Instead of just mimicking these particular grindhouse classics, Tarantino uses his own flair for extended dialogue to slow down the pace of the film thus lulling the audience for the two pay-offs which happen in the middle and the end of Death Proof. Tarantino’s half of Grindhouse could’ve went nowhere with all its estrogen-laced talkies, but Kurt “I AM SNAKE PLISSKEN” Russell really saves the day once he makes his appearance as the automotive-themed serial killer, Stuntman Mike. Where Jason uses farming and bladed implements as his tool of the serial killing trade, Stuntman Mike uses both a 1971 Chevy Nova SS and a 1970 Dodge Charger R/T 440 as his weapons of choice. Both vehicles have been made death proof for filming violent car stunt sequences, but in order to appreciate it’s unique life-saving properties then one has to sit where Mike sits.
Kurt Russell can now add Stuntman Mike to his classic list of badass roles. Mike would feel quite welcome amongst the like of Snake Plissken, John J. MacReady, and Jack Burton to name a few of Russell’s classic characters. Mike comes across as cooly and slickly dangerous, yet not psychotic. His charm is quite disarming until it turns deadly. He really takes the slasher-character stereotype and turns it on its ear. Death Proof once again shows that when Tarantino gets to work with one of his boyhood idols he really gives them a role that they could sink their teeth into.
Death Proof captures the spirit of what makes a grindhouse exploitation film. Even with the heavy references to Vanishing Point, especially with a white 70’s Dodge Challenger used just like in that movie, Tarantino still injects his own brand of craziness to the whole movie. I know many who have complained that Death Proof was too much talk with only the car chase in the end being the saving grace. I politely disagree and say that it’s that very long periods of dialogue between the women in Death Proof that brings some of the spirit of grindhouse to the story. Many forget or don’t remember that most grindhouse cheapies had so much extraneous dialogue to hide the fact that the budget was low to none when the movies were being made so they had to fill-up the movie’s running time with as much nonsensical dialogue before the big effect shots payoff.
The final chase-scene between the Russell’s Stuntman Mike and the female-trio of Rosario Dawson, Tracie Thoms (channeling Jules from Pulp Fiction) and real-life stuntwoman Zoe Bell (she doubled as Uma Thurman in the more dangerous stunts in Kill Bill) has to go down as one of the craziest, whiteknuckling, barnburning car chase sequences of the modern times. No CGI-effects trickery and fancy MTV-style editing was used. George Miller, John Frankenheimer and Richard Sarafian would be proud of what Tarantino was able to accomplish with Death Proof‘s 20-minute long car chase. By the time Death Proof ends the audience have bee put through the wringer and one was hard-pressed not to cheer and root for Stuntman Mike even though we know we shouldn’t. Death Proof proves that “hell hath no fury like a woman scorned” or at least a trio of women endangered.
Grindhouse is a film not for everyone. There’s going to be quite a few people who won’t “get” the film homages and references by both Robert Rodriguez and Quentin Tarantino. Some would say that the movie was too over-the-top, badly made and just out there, but then they would be missing the point of the whole project altogether. For those who grew up watching these kind of films as kids and teenagers, it’s a belated Valentine’s gift from two fanboy filmmakers who finally were able to do the films they grew up idolizing and enjoying. For the rest who are not as well-versed in the grindhouse cinema, this is a good enough starter before they move on to try the classic ones which are now on video (I would suggest they find a worn-out VHS copy of it instead of the cleaned up DVD version). The film is over three-hours long, but one who goes in really can’t say that they didn’t get their money’s worth when they went in to watch Grindhouse.
Through the Shattered Lens 