a5c7b9f00b Quentin Tarantino and Robert Rodriguez's homage to exploitation double features in the 60s and 70s with two back-to-back cult films that include previews of coming attractions between them.
An homage to exploitation B-movie thrillers that combines two feature-length segments into one double-bill designed to replicate the grind house theatergoing experience of the 70s and 80s. In "Death Proof," a psycho named Stuntman Mike stalks and kills beautiful women with his car. In "Planet Terror," a small-town sheriffs' department has to deal with an outbreak of murderous, infected people called "sickos." A gun-legged woman named Cherry and her martial arts-wielding partner take on the zombie army. The two films will be fused together by fake movie trailers.
This Was A Great Success In Brining Back The GrindHouse First Was Planet Terror Great Cast Superb Script Not Your Run Of The Mill Zombei Thing This Had Depth It Had Great Dialog And Hot Women One With A Leg Machine Gun It Had Everything That Makes A Film Great Right There So The First Part ''Planet Terror '' Gets a 10/10 And In Between The Fake Trailers Were Very Very Funny……………..So This Brings Us To Part Two Of The GrindHouse….''Death Proof'' With My Dawg Kurt Russel And I Really Ain't Seen Him Play A Dark Guy Like This It Was Fun To See Him In This Kinda Role , The One Had Your Hot Girls Your Action Suspense Thrills The Crazy Villain Guy And The Bad Ass Cars And Crazy Stunts This 2nd Part I Give A 10/10 As Well Both Pretty Much Perfect Films, And I Hear Possibility Of Part 2 Id Love To See It I Liked Death Proof Alil More Then The First But They Were Both Very Good Films And For The Most Part Enjoyed The Grindhouse.
I must say it was a good experience although Planet Terror was a much better film. For me Death Proof had some really fantastic parts but it seemed too misogynistic for it's own good. And the camera movements during the long dialogue scenes seemed a twinge arrogant. Overall it was fun though and the outcome for the women is almost trying to make up for the disgusting nature of the story. Indeed it feels great to watch. The end stunts were mind boggling and the freeze frame classic. It should be noted however that the experience may not have worked if it weren't for the phony-trailers kicking it off. I can't imagine the extreme nature of Planet Terror without the trailer for Machete. Also the break in the middle was a much needed departure from a long narrative. Those trailers,hilariousthey were, acta catalyst to get the blood pumping in the audience again. They prepare us for the next film. The soundtracks were goodwell. As always Tarantino's use of music gives the film fresh energy. Not to mention that shot of a woman's feet kicking the film off. A keen audience immediately sees Quentin's name all over Death Proof. Even more impressively, Rodriguez did a fine job scoring his film with his "Mariachi style" electric guitar (if I could get away with calling it that). The music he used seemed to provide a pulse to the entire event. In a superficial, unconscious way it also gave the audience a connection with the story. Even if that connection can only be in a raw and animalistic way given the ridiculous nature of the film. That same quality is what gave Planet Terror a more "Natural Grindhouse Appeal" than it's counterpart Death Proof (at least within the artificial Grindhouse atmosphere the two have created for their Double Feature). This is something that Tarantino's could have used to his benefit. Instead, Quentin seemed to rely on his editor Sally Menke to make artificially bad cuts just to let the film fit into the atmosphere of the night. Without these bad edits Death Proof would seem to stand alonejust another Tarantino film. Perhaps that is appropriate enough though. In just taking a look at the "Stuntman Mike" character, we see that his style is imperative for the film to work. Without it, would Kurt Russell be able to get away with that John Wayne impression that makes him out to be so suave and geek-cool? Tarantino gets away with this countless times, whereas other filmmakers do not (even though many may try). But that is what people go see his films for right? And muchwas expected with the Rodriguez film there was a playful, campy, and almost cartoony quality to it. Perhaps this is one reason why many go see his films time and time again. Those qualities are certainly what I like from these directors but the dichotomy of Rodriguez's style to Tarantino's gritty dialogue driven style works much to the entire experience's benefit, although that seems like a miscalculated contradiction to my previous statement about the "Natural Grindhouse appeal" and Death Proof. It is important to note because it provides some kind of balance between the self-referential qualities of each of the filmmaker's pictures (that stand within the Hollywood system) to the more obscure "Grindhouse" pictures that they aim to honor. For me what it comes down to in the end is: Did they aim well and honor those pictures? Yes. Thumbs up.
This monumentally pointless movie is best summarized by a line from Planet Terror: "At some point in your life, you find a use for every useless talent you have." Rodriguez, Tarantino, and Co. aim for nothing more noble than to freak the funk, and it's about godd–- time. Go wasted, go stoned, go without your parents' permission. In paying homage to an obsolete form of movie culture, Grindhouse delivers a dropkick to ours.
A "Grindhouse" was a type of inner city theatre that would play all night marathons of low-budget exploitation films in the 1960s, '70s and early '80s. These down 'n' dirty theatres would often show offbeat ultraviolent and sexually charged films under the categories of Kung Fu (Shaw Brothers films), Hixploitation (White Lightning, Gator Bait), Blaxploitation (Shaft, Coffy, Superfly, Dolemite, The Mack), Sexploitation (Supervixens, The Swinging Cheerleaders), Zombie and Cannibal films (Dawn of the Dead, Zombi 2, Cannibal Holocaust), Biker films (The Wild Angels, The Glory Stompers, The Savage Seven, The Losers) among hundreds of other subgenres. In the suburbs during the 1960s and '70s, Drive-ins were the equivalent to the inner city Grindhouses. You could see many of the same kinds of films from the convenience of your car. The title of Robert Rodriguez and Quentin Tarantino's first collaboration From Dusk Till Dawn (1996) was named after the catch phrase for the all night Drive-in movie marathons. Both Robert Rodriguez and Quentin Tarantino grew up watching these kinds of films in Grindhouse theatres and drive-ins in the 1970s and early 1980s. When they became friends in the early 1990s they often held Exploitation film double features in their own home theaters (and also at QT's Film Fests in Austin, Texas). Flash forward to 2006, the two moviemaking pals decided to recreate these wild nights for movie audiences around the world by making their own traditional Grindhouse-Drive-In double feature extravaganza complete with two raunchy horror films, fake exploitation film trailers, ads and other cool treats. First: Robert Rodriguez brings us "Planet Terror" in which a town is overrun by disease infected sickos. Then comes Quentin Tarantino's "Death Proof", in which a serial killer named Stuntman Mike murders people by the use of his stuntcar instead of a knife or machete. "Robert's film is Horror, it couldn't happen, but mine is Terror because it could."–Quentin Tarantino Before or in between the movies, there will be a series of fake movie trailers (as it was customary in old grindhouse theatres to show coming attractions in the double features). Robert Rodriguez presents a Mexploitation trailer starring the hard boiled actor Danny Trejo in the title role of "Machete". Edgar Wright (director of Shaun of the Dead) presents "Don't", a "70s style British horror film". Rob Zombie presents a Nazisploitation-sci-fi-horror flick "Werewolf Women of the S.S.", starring Sherri Moon Zombie, Sybill Danning, Udo Kier, Bill Mosely and Nicolas Cagethe legendary Asian mastermind Dr. Fu Manchu. Eli Roth's (Hostel) fake trailer is an ultraviolent homage to 1970s/'80s holiday themed slasher films called "Thanksgiving". An additional fake trailer called "Hobo with a Shotgun", created by Dartmouth, Nova Scotia filmmakers Jason Eisener, Rob Cotterill, and John Davies for Robert Rodriguez's SXSW Grindhouse Trailers contest, has been included in Canadian theaters. "Hobo with a Shotgun" is attached to the other regular trailers played before the main feature presentation which begins with "Machete". (1) Jason Eisener's, Rob Cotterill's and John Davies' "Hobo with a Shotgun" trailer [Canada only?], (2) Robert Rodriguez's "Machete" trailer, (3) Robert Rodriguez's "Planet Terror", (4) Rob Zombie's "Werewolf Women of the SS" trailer, (5) Edgar Wright's "Don't" trailer, (6) Eli Roth's "Thanksgiving" trailer, and (7) Quentin Tarantino's "Death Proof". Contrary to popular rumor, the missing reels idea in "Death Proof" and "Planet Terror" were not true staples of Grindhouse moviegoing. While many Grindhouse films would be missing frames, they were never missing entire 20-30-minute reels. The concept for this came from a film Quentin owns ("The Sell Out" starring Oliver Reed) which had a missing reel. He found he enjoyed watching the film with a chunk of the film's plot missing because it created an interesting mystery about what actually happened in that part of the film. This idea was then transferred to the two Grindhouse features. It also helped cut down the runtime for the movie's theatrical run. There was some controversy in the distribution overseas for Grindhouse. Because most non-English speaking territories might not understand the tradition behind a double feature, the underlying concept might be lost. There were decisions being madeto which countries will get Grindhouse, and which will get "Grindhouse: Planet Terror" and "Grindhouse: Death Proof" After the Boxoffice flop in the North America, Weinstein decided to split up the movie in all other countries, including earlier announced double feature countries like the UK and Australia. Although some people have criticized, sometimes harshly, the look of the film because of its manual "aging" process, it is actually a good thing. First of all, they helped in the rating procedure of the Motion Picture Association of America (MPAA). There had been a concern about the nudity and violence during one of the deaths in Roth's segment "Thanksgiving". Before the final submission to the MPAA, "age" spots were strategically placed on the area of frame where it showed the nudity and violence, where it suddenly became implied instead of being visual. Secondly, it keeps with the presentationTarantino and Rodriguez intended the film to look like,if you got a well worn print of a film that had been making the distribution rounds for a good while and decided to show it one day. Since the theatrical version of the film is what they strived for to presented to the public, it would be considered their "director's cut". The DVDs will have two versions of each film: the theatrical version and a "restored and remastered" version of the film which is basically the films before undergoing the "aging" process. Also, take into account there are versions of both films pushing 2 hours, due to the fact they are being split up in other countries. So, the DVD may incorporate these versionswell, making a 250-minute version. Only 18 seconds is supposedly deleted from the original cut from an interview on G4TV.
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