The Ravyn’s Nest

Quintin Tarantino and Robert Rodriguez are part of a cadre of directors who helped usher in the “indy film” era of Hollywood that began in the mid-90’s. While the Weinsteins were bringing Miramax to a position of prominence with films like The Crying Game, Bob Roberts, Farewell My Concubine, and The Piano, Tarantino was rising to prominence as one of America’s most important new film-makers thanks to the breakaway hit that was Pulp Fiction (and the public’s subsequent discovery of previous films True Romance and Reservoir Dogs). Meanwhile, Robert Rodriguez, the man who loves to put himself in the credits as “Shot and Cut by” rather then conventional terms like Director of Photography and Edited By, was the maker of little films like El Mariachi and more successful (if slightly inferior) Desperado. These two, along with the likes of the Coen Brothers, Steve Buscemi, Luc Besson, and several others, made a serious change to Hollywood…one that, while not always a good thing, definitely changed the look and feel of films (if you need proof, look at the Academy Awards the past few years and how many films are indy films as opposed to big studio films).

That said, it’s not surprising that Tarantino and Rodriguez would be behind such an experimental project as Grindhouse. A 3 hour, 15-minute full-on theater experience, it hearkens back to the old days when “grindhouse” theaters showed double-feature exploitation films, filled with gratuitous violence and sex, bizarre plot points, and cheap acting for a more sensationalist feel to the film. The idea was to draw people in by the advertising and shock value, rather then the “artistic quality” of the movie; often, these exploitation films would proudly proclaim in ads and trailers how many countries they were banned in (whether it was true or not). Tarantino and Rodriguez, who’s films have been heavily influenced by the films of this era (Jackie Brown is in essence a blaxploitation film in it’s own right), were the perfect choice to bring this cult classic genre back to modern audiences, and they did a sensational job doing so.

The “film” is in fact two films, but it’s actually more then that. After the standard film trailers start (the showing I went to had Rob Zombie’s Halloween remake, Pirates of the Caribbean: At World’s End, Hot Fuzz, and some retarded-looking teen comedy appropriately called Superbad), it launches into…another trailer, this one for a movie entitled Machete. Starring Danny Trejo (Desperado, Devil’s Rejects, Con Air) as a Mexican federale who’s set up by the American government and starts on a revenge streak, this is actually part of the Grindhouse film experience. (Interesting note: Rodriguez and Tarantino have said they plan to make Machete into a direct-to-DVD feature soon). It’s over-the-top, wild, and looks like it would be a very fun film, and is a perfect beginning to Grindhouse.

After this, we move to the first film, Rodriguez’s Planet Terror. A joyously ridiculous, bloody “zombie” film in the style of 28 Days Later or the vastly underrated Slither, Planet Terror takes place in a small town in Texas, located near a military installation where a deal for a new biological weapon goes disastrously sour. The resulting plaque is unleashed on the townsfolk, including go-go dancer-turned-stand-up comedienne wannabe Cherry Darling (Rose McGowan, better then she’s ever been), her ex-boyfriend with a mysterious past El Wray (Freddie Rodriguez), Sheriff Hague (Michael Biehn) and his BBQ-shop owner brother JT (Jeff Fahey), and a pair of married doctors who’s relationship has issues (her bisexuality and infidelity, his psychoticness), played by Josh Brolin and Marley Shelton. They must band together to stop the resulting onslaught, or the world…will END!

Seriously, it’s that over the top.

Rodriguez fills this film with exactly the kind of insane, sensationalized gore and plot twists it needs, and makes every character resonate with that sort of “What-the-fuck”-ness that a fan of this genre should love. It’s the little touches that make it so enjoyable…like the fact that Sheriff Hague charges his brother JT high prices on his rent because he won’t share his barbecue recipe, how Shelton’s doctor Dakota has a little mantra she recites when she administers anesthetic shots to her patients, or how Cherry has her little quirk of describing her unique abilities like being able to arch her back off the ground as “Useless Talent # 37.” El Wray’s unexplained past that makes everyone fear him is another one of these…hell, even Dakota’s twin babysitters have their own quirks. It makes the characters larger-then-life, and people you can care about. And the actors carry things off ably; McGowen and Shelton do an incredible job of taking on the main roles in this film. I’ve not traditionally been a fan of McGowen, but I have to hand it to her on this one. I mean, she could have gone way, way over the top…let’s face it, she’s a go-go dancer with a gun for a leg. But she performs very admirably, and I have to say I’m much more of a fan now. The real star among the actors for me, though, was Freddy Rodriguez. El Wray is a bad-ass in the classic cinema style…this is never more evident then when he makes a rescue run through a zombie-infested hospital and, armed with a pair of knives, goes on a killing spree that makes Rambo look like a wuss in comparison. I had doubts that the 5′6″ actor, best known for playing sensitive Frederico Diaz on Six Feet Under and the straight man role in Harsh Times, could pull this off, but he convinced me in an instant. El Wray will go down in history as a bad-ass of film cinema, and deservedly so.

Planet Terror utilizes the classic grindhouse elements to great effect. The scratchy video, slight warps, and a missing reel which cuts off at just the perfect (or worst, depending on your opinion) moment, and comes back with everything completely different combines to add the perfect touches to the film. If you come to this film expecting anything remotely resembling believability, you’re going to be massively disappointed–however if you did, you probably didn’t see the theater. Folks…the chick has a GUN ON HER LEG. That FIRES. And no, don’t ask how. It’s not important…just enjoy the ride. You’ll like it easier that way.

After Planet Terror, we’re treated to more faux trailers, directed by Eli Roth (Cabin Fever, Hostel), Rob Zombie (Devil’s Rejects), and Edgar Wright (Shaun of the Dead). Roth’s trailer is for Thanksgiving, a nod to the infamous “Holiday Slasher Film” genre popularized by Halloween, Black Christmas, and Silent Night, Deadly Night. This is by far the weakest of the trailers, played purely for laughs (and mostly failing at that). But really…this is the director of Hostel. What do you expect? Zombie’s Werewolf Women of the SS is far more effective at the laughs, including the best grindhouse casting of all time, with Nicolas Cage playing Fu Manchu (the Chinese evil genius has traditionally been played by Caucasian actors, like Boris Karloff and Christopher Lee). Wright’s Don’tis an homage to the lesser-known Britsploitation genre, where European films would be released in the U.S. and given (supposedly) better titles. They even include a cheesy still advertisement for a Mexican restaurant “next to the theater.” While all enjoyable (except perhaps Thanksgiving), these did run a little long.

Finally, we get to the final piece of the Grindhouse epic, Tarantino’s Death Proof. A slasher film with very obvious inspiration from the infamous Russ Meyers film Faster, Pussycat! Kill! Kill!, the film features Kurt Russell as Stuntman Mike, a stuntman (go figure) who comes across a group of girls hanging out in Austin, Texas. Stuntman Mike is a Nacho-Eating, scarred smooth-talker, who can get his game on with the ladies, but prefers a different game–one involving his “Death Proof” reinforced stunt car with a skull and crossbones on the front. After a rewarding (for Mike) rendezvous with the girls (who include Jordan Ladd, Sydney Poitier–the daughter of the OTHER Poitier–Vanessa Ferlito and again, Rose McGowan), he takes off for Tennessee where he sets his sights on a group of movie crew. The crew consists of innocent Lee (Mary Elizabeth Winstead), mother Abernathy (Rosario Dawson), and balls-to-the-wall stuntwomen Zoe (Zoe Bell playing herself) and Kim (Tracy Thoms from Rent). In this case, Stuntman Mike gets more then he bargained for.

Much of the joy of Death Proof is in the dialog, as in much of Tarantino’s films. Love him or hate him, QT is one of the best dialog writers in the business, along with Kevin Smith. Whereas Planet Terror takes all of it’s thrills in the over-the-top action and ludicrous situations, Death Proofinstead takes a bit more minimalist approach. And it works beautifully. The stars are allowed to shine, and those stars in this one are Russell, who’s villain is truly unique and enjoyable; Poitier, who shines in the first group of girls; and Bell and Thoms as the stuntwomen. Bell is a real find, with real natural charisma and a great look. Thoms plays WAY against what she’s bets known for, as Kim is the absolute opposite of Joanne from Rent–yet she pulls it off with utter believability, skating towards over-the-top and flirting with the edge while never quite going there. This has, thanks to Bell, one of the most thrilling and suspenseful car sequences ever filmed, and the ending is one of the more satisfying endings I’ve seen in some time.

Both films in this theater experience are incredible; I slightly preferred Planet Terror over Death Proof, purely as a matter of genre taste. The only critique I can give either of them is the fact that their use of modern conventions (Osama Bin Laden is a plot point in Planet Terror, and cell phones are used in both films) makes things a bit jarring, considering the 70’s feel, but this is a minor gripe. More severe is a caveat–if this genre is not for you, you will not likely get or enjoy it. If you’re not sure because you’ve never seen the 70’s films, then compare to Tales from the Crypt: Demon Knight. It’s the best I can suggest. If you are truly looking for something (re)new and outside of standard Hollywood fare, though, you’d be well, well-served by going to this experience.

Rated individually:

Planet Terror: 9 (out of 10)
Death Proof: 8.5 (out of 10)

Combined Experience: 9 (out of 10)

See it. Love it. Trust me.