Tuesday, May 15, 2007

Grindhouse: Review

It is rare to go to a multiplex now a days and have an actual cinematic experience, i.e. something more than simply sitting there watching the story unfold around you. In fact, most films that play in the multiplexes don't want you to have to do anything other than sit there and watch. Luckily, leave it to America's resident cineastes, Quentin Tarantino and Robert Rodriguez to create a combustible, messy yet utterly brilliant package that serves as a nearly perfect distillation of their love of schlock cinema. Granted this package, conveniently titled Grindhouse, is not for everyone and many mainstream moviegoers will most likely be left with a bad taste in their mouths but for those who have grown tired with the trite, cliché output of Hollywood, the double feature of Planet Terror and Death Proof will be the kick to the collective cinematic pants of America that some have longed for. As low brow as cinema comes, the result of the entire package is a dizzying mish-mash of 70's exploitation sub-genres that will surely please fans of the era.

That being said, after watching the entirety of the double feature, this is the least surprising box office bust in recent memory. The films that Tarantino and Rodriguez are creating homage to are cult films at best, relative obscurities at worst. As someone who prides himself on being learned in the history of cinema, both art house and grindhouse fare, I was able to spot many of the references but there were a number of moments where I was left scratching my head. Given Rodriguez and Tarantino's encyclopedic knowledge of these genres, I have no doubt that each part of their films pointed someplace else, quite often places I never had the nerve to tread. The audiences for the films they are emulating are small, a extreme niche market that are relegated to the world of Troma to find their cinematic fixes. This film will not appeal to mainstream American audiences, as it flies in the face of every value and moral that many work so hard to impart on their children. Violent and sexual to the Nth degree, Rodriguez and Tarantino constantly recognize the line and then bravely and unabashedly leap over it, leaving any resemblance of mainstream dignity behind them. However, in doing so, they create a new form of dignity and for those who can recognize and appreciate their aims, the final result is a more dignified piece of cinema than just about anything released today.


It is important that the audience has an idea as to what they are getting into before entering the theatre. Walking in without any sort of primer as to what you are about to see will most likely leave the viewer overwhelmed and slightly disoriented as this is unlike any other film one will see this year (actually, more like decade). The film (I'm referring to and will refer to Grindhouse as a single film despite its abnormal structure) begins with a trailer, not unlike any normal experience, albeit one for a non-existent film called Machete (rumor has it that this will actually be a straight to DVD release), which is directed by Rodriguez. This is then followed by the first feature, Rodriguez's 70 minute or so, Planet Terror. Following that comes three more (fake) trailers interspersed with fake advertisments for local restaurants: Werewolf Women of the SS directed by Rob Zombie; Don't by Shaun of the Dead and Hot Fuzz director Edgar Wright; Thanksgiving by Hostel director Eli Roth. Finally, the second feature, Death Proof by Tarantino begins and ends the overall Grindhouse experience.

Each part is nothing short of spectacular and although Rodriguez's is more immediately enjoyable, Tarantino's segment would work much better on its own and stands as a better film per say. Planet Terror is a lovingly tongue in cheek homage to the zombie films of the 1970's and at times, functions in the same way as Wright's Shaun of the Dead, moving into downright comical moments. It is this diversion from the original films that is the most notable. While most of the zombie films he reference utilized dark humor, none of them are as outright humorous as Rodriguez's segment. As a result, while exciting, it is never all that suspenseful as the humor breaks up the sequences well enough to allow the audience to breathe. It's humor is what makes it more immediately enjoyable but ultimately, a shallower experience, an almost parody of the films that came before it rather than a re-imagining. Performances from Freddy Rodriguez, Rose McGowen, Naveen Andrews, Bruce Willis and Marley Shelton all work well in the context of the film and while they won't win any awards, deserve praise for their recognition of the type of film they are working in and adopting an attitude to match.


Tarantino's Death Proof, on the other hand, is, in a way in which only a master such as Quentin can do, a daring combination of styles that is less a straight homage than a brilliant re-envisioning. Combining countless exploitation genres such as the road movie, Sexploitation and Blaxploitation amongst others, Tarantino has crafted a film that, despite its meager 70 minute run time, is deceptively simple but in reality, is loaded with references and in-jokes. It is undeniably a film for Tarantino lovers, filled with his quick back and forth banter, but the last 20 minutes or so is when the tension is turned up and the film is kicked (literally) into overdrive. The concluding scenes are as thrilling as any other this year and showcases Tarantino's undeniable skill at staging stylistic action sequences that first revealed itself during his Kill Bill saga. The highlight here is most definitely Zoe Bell, whose unbelievable stunt work (and ample acting skills) lifts the climatic car chase to new levels. Equally as entertaining is Kurt Russell as Stuntman Mike, the villain of the film. Russell is deliciously over the top and thoroughly enjoys himself throughout with an increasingly outrageous performance. The rest of the cast is filled out with some strong performances from a number of up and coming female actors including Sydney Poitier (yes, Sidney's daughter), Rosario Dawson, Vanessa Ferlito and Tracie Thoms, who all tailor their performances wonderfully to the nature of the film. Keep your eyes open for cameos from Tim Robbins, Nicolas Cage, Nick Frost, Simon Pegg, Cheech Marin, Stuart Wilson and Jason Isaacs amongst others.

Grindhouse is a mercilessly entertaining and is as tongue in cheek as a film can get. That being said, it is an absolute necessity that the viewer is on the (somewhat twisted) wavelength of Rodriguez and Tarantino. If not, many of the subtleties, which abound throughout, may be lost. As a result, this is not a film for everyone and some may find it downright distasteful and off-putting. If there wasn't a healthy dose of that, then the fearless directorial duo wouldn't have done their jobs as many of the film's predecessors are as awfully bad as one can imagine. It takes a good (but not encyclopedic) knowledge of film to fully grasp everything that is going on here. For those who have that, this will be an undeniable masterpiece, lovingly and humorously crafted. For those who don't, this is one to skip: it will run too long and it will be off-putting. That is what makes it so delightful. Its demented humor and action is a blast of joyous filmmaking in a time when watered down actioners and horror films dominated the multiplexes. While there may not be the required bum in the theater, the floors may be not stained and sticky and the seats may still be comfortable, the feel on the screen is there. And my oh my, what a feeling it is.

****