It’s been brought to my attention that I’ve been going off on Canada a lot lately, which is odd since some of my favorite Twitter friends happen to live up in Canada. Unfortunately, so does my one twitter enemy. I’m not going to give out his name (though I call him Monsieur Petit Pénis) or go in to all the gory details but oh my God, I hate him so much it’s not even funny. Seriously. Hate him. Forever and ever.
But anyway, just in case I have been tarring an entire nation based on one freaking lewser, I want to take some time to acknowledge the greatest thing to come out of Canada since Ryan Gosling, Hobo With A Shotgun.
Rutger Hauer plays the title character and hero of this nicely demented little film. When we first meet Hobo, he doesn’t have a shotgun. He’s just a vagabond, a proverbial man with no name who finds himself in the most run-down slum of a town ever. Hope Town appears to be located in one of the lesser known rings of Hell and basically seems to consist almost exclusively of burned-out storefronts, trash-strewn alleys, and seedy amusement parks. Seriously, the New York City of Taxi Driver hasn’t got a thing on Hope Town.
As soon as the Hobo arrives, the first thing he witnesses is the town’s local crime boss, the Drake (Brian Downey), decapitating a man in broad daylight while the citizens of the town apathetically watch. The Drake looks a lot like Peter Popoff (a preacher who comes on TV around 2 in the morning around these parts; he sells magic holy water) and he has two equally sadistic sons, Slick (Gregory Smith, who looks like Tom Cruise on extasy) and the idiotic Ivan (Nick Bateman). It soon becomes obvious that the Drake and his sons control the town because nobody has ever previously considered grabbing a shotgun and gunning them down. Nobody until the Hobo that is.
Originally, of course, the Hobo had different plans. He was attempting to raise the money necessary to buy a used lawn mower sitting in the local pawn shop, the idea being that he could use that mower to start a lawn care business. (The joke here, of course, is that nobody in Hope City appears to have a lawn. Seriously, they should have called it Cement City.) However, right when the Hobo is preparing to buy the lawn mower, the pawn shop is held up by two thugs. Luckily, along with the lawn mower, there’s also a shotgun — which happens to cost the exact same amount as the lawn mower — in the sales window. The Hobo purchases the shotgun and soon, with the help of a sympathetic prostitute named Abby (Molly Dunsworth) he sets out to clean up Hope City, one criminal at a time.
Now, it might sound like I’m making fun of the film’s plot but nothing could be further from the truth. This film is perfectly aware of how ludicrous all of this is and director Eisener quite wisely never apologizes for the story he tells or the way he tells it. From the start, Hobo With A Shotgun shows that it is a film without shame and therefore, one that you can watch without shame.
It’s also follows Robert Rodriguez’s Machete as the second film to be based on a fake trailer made for the Rodriguez/Quentin Tarantino collaborative film Grindhouse. Here’s the original “fake” trailer that led to a very real movie:
Though it’s gotten nowhere as much hype, I actually think Hobo With A Shotgun is superior to Machete. Grindhouse films may have been excessive but they were still films being made by filmmakers and, as Quentin Tarantino has always seemed to understand, the truly great grindhouse films (the ones that we eagerly wait to see released on DVD) never used the art of excess as just an excuse to do whatever they wanted. The best grindhouse films created their own unique worlds with their own unique rules but once those rules had been set, they weren’t broken. (That, of course, wasn’t true of all grindhouse films. Just the good ones.) That is where Hobo With A Shotgun truly triumphs. You believe in this odd, over-the-top world that the film creates. Everything from the graffiti-covered walls to the garish cinematography to even the overacting of most of the supporting cast; it all comes together to create its own unique world. And once you surrender to that the film’s odd “reality,” the film becomes, in its own warped way, quite compelling.
With the exception of Rutger Hauer in the title role, the cast of Hobo With A Shotgun is largely made up of unknowns and that’s quite a contrast to Machete. However, and I may be in the minority here, I actually felt that all the famous faces in Machete actually had a detrimental effect on the overall film. Too many of them seemed to be slumming or treating Machete as a lark and true grindhouse is never a lark. If there’s one thing you can say for sure about Rutger Hauer’s performance here, it’s that he’s definitely not slumming. Hauer seems to understand that a film like this needs an anchor, something steady that the audience can grab on to whenever the film itself threatens to spin out of control. Wisely, Hauer chooses to underplay his character and, as a result, he dominates the entire film. It’s really a performance that all aspiring actors should watch. Hauer might be playing a hobo with a shotgun but that doesn’t keep him from being the most compelling and believable hobo with a shotgun possible. Out of the rest of the cast, Molly Dunsworth does a good job and manages to be believable whether she’s mourning her lost innocence or stabbing a bad guy to death with a fragment of bone.
Hobo With A Shotgun is currently in limited release here in the United States. What does that mean? Well, that means that if you’re living on the West or East coast you’re in luck. However, if you’re like me and you actually live in a city that’s not going to be targeted by terrorists in the near future, things are a bit more problematic. Luckily, for us, Hobo With Shotgun is available OnDemand which is how I ended up seeing it.
In conclusion, allow me to say, “Canada, you rock!”
So, here I am. It’s May 1st, I’m suffering from a mighty terrible case of insomnia, my asthma is bothering me so much that I’d scream if I had the lung capacity, and let’s just say that whatever it is that I’m watching on LMN right now is not memorable enough to rate a What Lisa Watched Last Night post.
And yet, I’m excited. Why?
Because we have a title!
In this case, we have the title to Quentin Tarantino’s upcoming Spaghetti Western (or “Spaghetti Southern” as Tarantino has suggested it should be called). The title is Django Unchained. When I first heard that title, along with the rumor the Franco Nero would have a cameo in the film, I was hopeful that maybe Tarantino was looking to restart the original Django series. Back during the heyday of the Spaghetti Western, there were a countless number of Italian-made westerns that detailed the adventures of a ruthless bounty hunter named Django. Franco Nero first played Django in a film entitled, not surprisingly, Django. However, after the success of the first Django, Django was played by everyone from Tomas Milian to Ivan Rassimov to Jeff Cameron to George Eastman.
However, it appears that the name of Tarantino’s Django is not evidence of a reboot but just of an homage. Tarantino’s Django is a former slave who, along with an older German bounty hunter (presumably to be played by Christoph Waltz, who could use another good role), returns to the South to rescue his wife from an evil plantation owner.
If you read the story over on Comingsoon.net, you can read a review of the script from someone who claims to have read a copy. I’m not going to quote from that review because, quite frankly, it’s obvious just from the tone of it that the reviewer is busier trying to come across like a film geek badass than actually reviewing the script. (Seriously, there’s nothing I hate more than people who think they’re more interesting than they actually are.)
Still, I will always look forward to anything Tarantino does. Add Franco Nero into the mix and we have got a lot to look forward to.
To me, one of the most iconic sequences in 21st century cinema comes towards the end of Quentin Tarantino’s Kill Bill, Volume One. I’m talking about the scene in which Tokyo crime boss O-ren (played by Lucy Liu) walks through the House of Blue Leaves, flanked on either side by her bubble gum-chewing bodyguards. While there’s a lot that makes this scene memorable (the slow-mo staging, Liu’s regal yet fierce persona), what I always remember first when I think about this scene is the song playing on the soundtrack.
Of course, I’m talking about Tomoyasu Hotei’s Battle Without Honor or Humanity. Though the song was not originally written for Kill Bill, it seem to almost perfectly epitomize volume one of Tarantino’s masterpiece. Yes, it’s over-the-top and shamelessly excessive. Yet, much like the best of the grindhouse films that inspired Tarantino, it’s performed with such an undeniable artistry that it’s impossible not to get drawn into it.
Whenever I’m out grocery shopping or walking to my office at the start of my workday, I always imagine that this is the song playing in the background. It definitely brings a little stride to my step.
(The song has other uses as well. A month ago, I wanted to perform a little impromptu dance for a friend of mine. This is the song that I ended up dancing to because I knew that, with this song backing you up, it’s impossible not to look good doing whatever you might happen to be doing.)
I had to include this trailer at some point since Vanishing Point is one of the key influences on Quentin Tarantino’s Death Proof section of Grindhouse. Is Vanishing Point the ultimate trip? Maybe but I think there’s one other film that came out the same year that might disagree…
And here it is! I haven’t seen this actual film but the trailer would seem to indicate that this is some sort of religious biker film. But then you have that final scene in the trailer and you’re kinda like, “Uhmmm….sacreligious much?” Anyway, this is one of those trailers that I find myself watching over and over again. I guess I was destined to grow obsessed with this trailer as it appeals to both my exploitation fanatic side and my fallen Catholic side. Put them both together and I guess you’ve got The Jesus Trip.
I’ve come across this film on DVD a few times and I’ve always been seriously temped to buy it just on the basis of the title. However, I may just end up settling for having seen the trailer because, to be honest, the trailer would seem to indicate that there’s a lot of really, really ugly people in this movie. And ugly people kinda sorta make me nervous.
I guess this is like the grindhouse version of Bring It On. Watching the trailer, I have to wonder why high schools in 70s movies always looked so dirty and unwashed. I mean — BLEH! Seriously, if my school had been that dirty, I would have ended up dropping out of school when I was 15. I mean, gawd damn! Get out the Scrubbing Bubbles and every sanitizer you can find and just — oh my God. I think it’s the cafeteria that really makes me shudder. Anyway, as for the rest of the trailer, I asked my sister Erin if it looked like a truthful depiction of high school cheerleading since she used to be one and she said no because most cheerleader don’t survive getting blown up as easily as the ones in this trailer.
This is a film from the notoriously odd Doris Wishman. Someday, somebody — maybe even me — is going to turn the life of Doris Wishman into a great novel and an even better film.
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.
Having recently seen Michael Caine’s revenge film Harry Brown I got to thinking about other revenge-themed films I’ve watched through the years and I realized that there were quite a bit of them. There’s something just primal and Old Testament about revenge flicks. It doesn’t matter whether they’re high-brow art-house films or the cheapest grindhouse flicks in the end it all boils down to one individual raining down their own version of Divine Wrath on those who wronged them.
Who hasn’t fantasized or thought about going all medieval on someone who just screwed them over. Maybe it was an infraction that was minor that one didn’t need to get overly upset over or something so heinous that only violence at its most basest was the only response. Going through with such thoughts usually stayed there: in one’s thoughts and imaginings. Revenge films seems to be quite popular because they allow even the meekest and most pacifist to secretly live vicariously through the revenge-minded leads in the film.
The list below is not the best revenge films out there but they definitely are my favorites…
Oldboy – This revenge film by South Korean auteur Park Chan-wook wasn’t just a blast to watch but also happens to be one of the best films of the past decade. It takes a simple plot of a man imprisoned against his will for 15 years with no explanation whatsoever that he literally goes insane and back to sane during his captivity. Revenge being the one thing which keeps him going and revenge he gets to inflict on all those he discovers were responsible. The mind-twisting last act in the film takes the revenge-theme right on it’s head as we find out that the main lead wasn’t the only one on a revenge train of thought.
I Spit On Your Grave aka Day of the Woman – This grindhouse classic from Meir Zarchi is the epitome of the rape victim turned revenge valkyrie. The film is not very easy to sit through since there’s nothing subtle about how filmmaker Meir Zarchi filmed every exploitative scene. From the prolonged gang rape sequence to each subsequent revenge act by Camille Keaton’s Jennifer character. Some critics have blasted the film as pandering to the lowest common denominator while others have hailed it as a post-modern feminist film. I like to think that both sides are correct and that the film lies somewhere in the middle. It definitely will put a scare on any group of men who are having thoughts of shenanigans.
Death Wish – When people hear revenge flick they almost always say this iconic film by Charles Bronson from the 70’s. The film was adapted from Brian Garfield’s 1072 novel of the same name and directed by Michael Winner. While critics had mixed reactions to the film with some calling it irresponsible filmmaking, the nation as a whole embraced the film. Here was a film which screamed to the nation that the rising crime-rate in the U.S. during the 1970’s wasn’t going to go unanswered. While some people may have seen the film as a blank check to actually commit vigilantism in the end it just helped a country sick and tired of the crime they see day in and day out. Again here was art becoming a driving force in changing a nation’s collective malaise into something more positive. It didn’t hurt that Bronson was badass as Paul Kersey.
Kill Bill: Volume 1-2 – Who else but the video clerk made good would make what I would consider the greatest genre mash-up film ever made. Quentin Tarantino’s ode to kung fu, spaghetti westerns and revenge flicks became so massive that he had to split the film into two volumes. I am talking about Kill Bill. Not his greatest film ever but I definitely consider it his most geek-friendly and most entertaining. Uma Thurman as The Bride tearing a bloody and witty path of revenge on those who failed to kill her created some of the most iconic fight sequences of the generation this film came out in. Every scene almost seemed to be inspired by other films of a similar theme and genre that film geeks everywhere must’ve exploded in their pants from all the awesomeness they were witnessing. Each volume had two great action sequences that were both fantastical and brutal.
Straw Dogs – One of the most controversial films in Sam Peckinpah’s controversy-filled directing career. Released in 1971 it told the story of how even the meekest person could be pushed into dealing out extreme violent justice on those who have wrong them and those they love. Seen by critics as quite misogynistic due to the nature of the rape scene of Susan George’s Amy character the film was banned for two decades in the UK for it’s unflinching look at violence. Being a huge fan of Sam Peckinpah I had to see it and when I did it automatically became one of my favorite films ever and not just a favorite revenge film. If there was ever a modern retelling of a Biblical-level fable it is this classic from Sam Peckinpah. Every revenge-fueled act by Dustin Hoffman literally oozes Old Testament justice. Just the way I like my revenge. 🙂
Star Trek II: The Wrath of Khan – Speaking of Biblical this first sequel in the Star Trek film franchise still considered by fans and non-fans alike as the best in the series. Hard to argue with them since it’s also an opinion I share. The sequel takes a popular episode from the original series and follows it up with all the cast of characters older and more seasoned. In the case of Ricardo Montalban’s Khan Noonian Singh quite seasoned and classy as smooth Corinthian leather. It’s a film with Shatner’s Kirk and Montalban’s Khan in an everending cycle of revenge which would culminate in what would be one of film’s most heartbreaking scenes. One could taste the revenge emanating from the two characters as age-won wisdom and genetically-engineered intellect fell by the wayside to feed the vengeance sought by Kirk and Khan. This revenge flick also has one of the most awesome death speeches by a character on film.
Carrie – Brian De Palma’s film adaptation of one of Stephen King’s better horror novels still seen by many as the best film adapt of a King novel. It combines the existential horror of being a girl and her body maturing in the dog-eat-dog world of high school and the horror said girl can inflict on those tormenting her. It’s high school bullying and revenge with a healthy dose of Stephen King shenanigans mixed in. Sissy Spacek was great as the titular character. One doesn’t have to be a high school girl to feel for Carrie and what she goes through. Her snapping in the last act and inflicting her psychokinetic-brand of revenge on her tormentors must’ve gotten more than a few “Hell yeah!” from some of the teens and adults who went through high school hell. It also has a classic line uttered by Carrie’s mother played by Piper Laurie: “I can see your dirty pillows. Everyone will.”
Orca – This film was to be producer Dino De Laurentiis’ attempt to capitalize on the success of Steven Spielberg’s classic man-versus-nature thriller, Jaws. Starring Richard Harris, Charlotte Rampling and Bo Derek the film wasn’t a success when it first came out. While Spielberg’s film was a modern retelling of Moby Dick this killer whale version by director Michael Anderson was Death Wish on water with Paul Kersey as the killer whale. This was one of the first films where I realized none of the people on the screen were worth rooting for to survive. I was all for the killer whale who was on a warpath to avenge his mate and unborn wee killer whale who were killed by Harris and his crew. Shamu this killer whale was not and it always brought a smile to my face whenever the killer whale outsmarted the humans and killed each and everyone in inventive ways. I’m wondering if all the killer whales in all the aquatic parks are just biding their time before they too go all Orca on their handlers and the audience. I’d pay to see that!
Treevenge – Last but not least the greatest film ever made!
One of the great things about watching a Quentin Tarantino film is the chance to see B-movie actors and various grindhouse veterans getting a chance to show off just how talented they actually are. Below are four men and one woman who, in a perfect world, would have a date with Tarantino in the near future.
1) Giovanni Lombardo Radice
Who is he? He’s one of the great Italian exploitation actors. He played a character named Charles Bukowski in Cannibal Apocalypse. He was Bob the Pervert in City of th Living Dead. Remember his little disco dance in House On The Edge of the Park? And who can forget him snorting cocaine, getting castrated, and shouting “Twatface!” in Cannibal Ferox? He was also a regular in the movies of Michele Soavi and though he hasn’t been as active in recent years, he can be seen in both Gangs of New York and the Omen remake.
Why Should Tarantino Use Him? Are you kidding? Because he rocks that’s why. Plus, Tarantino has said that he’s a fan and, in a documentary included on the Cannibal Apocalypse DVD, Radice expressed a desire to some day work with Tarantino. And, with his current bald look, Radice could easily play Mussolini if Tarantino wanted to make a prequel to Inglorious Basterds.
2) Tony Sirico
Who is He? He’s the Italian version of Danny Trejo, a real-life gangster who went to prison and then became an actor.
Why Should Tarantino Use Him? Because Paulie was my favorite character on The Sopranos. Sirico deserves at least one starring role in his post-prison career.
3) Colby Donaldson
Who Is He? Okay, Colby’s kinda been a little bit pathetic on the current season of Survivor but in his two previous appearances on the show, Colby was the man. In between reality show appearances, Colby has pursued a career as an actor and, surprisingly, he’s not half bad. His best post-Survivor role, though, was playing himself on Curb Your Enthusiasm.
Why Should Tarantino Use Him? Because someday, Tarantino’s going to have to make an actual western and who would be better to star in it than my fellow Texan, Colby?
4) Fred J. Lincoln
Who is He? Lincoln has spent most of his career working in the porn industry but Lincoln has appeared in a few “mainstream” movies. Most infamously, he played “Weasel” in the original Last House On The Left. In the 70s, Lincoln was the owner of Plato’s Retreat, an infamous sex club in NYC. He’s also one of the central figures in Legs McNeil’s The Other Hollywood: The Uncensored Oral History of the Porn Film Industry .
Why Should Tarantino Use Him? David Hess got the majority of the attention but, of Last House’s trio of killers, Lincoln was the truly scary one. A cameo in a Tarantino movie would be the perfect way to pay credit to Lincoln’s role in one of the seminal exploitation films in history.
5) Catriona MacColl
Who is She? English actress who appeared in several exploitation films in the late 70s and early 80s. She is probably best known for starring in Fulci’s Beyond trilogy. Currently semi-retired from acting and living in France.
Why Should Tarantino Use Her? Because she starred in The Beyond, of course!
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 