Grindhouse Movie Review
Grindhouse Review

"Grindhouse" Overview

Rating: R
2007
Cast and Crew
Director : Robert Rodriguez,Quentin Tarantino,Eli Roth,Edgar Wright,Rob ZombieProducer : Robert Rodriguez,Quentin Tarantino,Elizabeth Avellan,Erica Steinberg
Screenwiter : Robert Rodriguez,Quentin Tarantino
Starring Rose Mcgowan, Freddy Rodriguez, Josh Brolin, Marley Shelton, Jeff Fahey, Michael Biehn, Naveen Andrews, Fergie, Nicky Katt, Kurt Russell, Rosario Dawson, Vanessa Ferlito, Jordan Ladd, Tracie Thoms, Mary Elizabeth Winstead, Zoe Bell
Longtime buddies Quentin Tarantino and Robert Rodriguez have worked together
before (Four Rooms, Sin City), but this takes it to the next level. Grindhouse
is their shared B-movie fantasy: a three-hour, bare-knuckled double feature
epic, an unapologetic celebration of '70s-era hardcore schlock that's
authentic, witty beyond expectation, and unerringly crowd-pleasing.
In a recent TV interview, Tarantino said he and Rodriguez had always wished
those low-budget flicks were as good as their posters -- and they set out to
achieve that, decades after the movies' heyday. With an obvious passion for the
genre, the pair has recreated the experience of being at some cheap Texas
drive-in with two features, fake coming attractions, missing reels, local ads,
and announcements from theater management. Even if you don't catch on to
everything, just watching the package is a complete thrill.
After a trailer for the knife-and-gun-for-hire drama Machete, we launch into
Rodriguez' Planet Terror, a zombie gross-out full of mean military,
flesh-eating disease and the "best barbecue recipe in Texas." This is the more
true-to-form entry of the two movies, from its tacky on-the-mark dialogue to an
ass-kicking last stand at a lonely roadhouse. Freddy Rodriguez (Six Feet Under)
is the brooding Wray, who... well, we really don't know exactly who Wray is,
but the reason for that's a good joke in itself. We do know this: He can shoot
anything that moves and was once in love with Cherry (Rose McGowan, superb
here), a go-go dancer with one less limb.
Josh Brolin, channeling some of his old man circa The Amityville Horror, nails
his role as a strong-jawed doctor overseeing hospital rooms full of zombie
blood and flesh while questioning the fidelity of his hot anesthesiologist wife
(Marley Shelton). If it all sounds confusingly wild, wait until Wray and Cherry
try zipping their way out of a medical wing gone very, very wrong. It's
satisfyingly juicy and not for the faint of heart.
After a quick break for some more trailers -- Eli Roth's horror spoof
Thanksgiving is happily and disgustingly depraved -- we get to Tarantino's
feature, a meal of muscle car mayhem called Death Proof. In ten words or less,
homicidal maniac (Kurt Russell) kills innocent girls via car crashes. But with
this simple construct, Tarantino creates something more, a wicked study in
setup and payoff that had preview attendees screaming with delight.
Death Proof begins like its predecessor, with funky period music and missing
frames. But at the midway point, something changes. Instead of just being the
joke, the film begins to reference it. Four women, taking a break from their
work on a film set, discuss movies like Dirty Mary Crazy Larry -- and then
become their own thrill-a-second car chase classic as Russell's stalker comes
after them next. Little does he know that a) one chick's a supreme stuntwoman
(Zoe Bell, Uma Thurman's double in Kill Bill, playing herself) and b) these hot
broads know the meaning of strength in a post-Thelma and Louise world. Sure
enough, Grindhouse loses its scratchy visual style and heads firmly into the
present, as Tarantino molds one of the best vigilante sequences ever seen.
One reason the finale gets such a visceral reaction is the slow burn of
"Tarantino speak" leading up to it. The main characters chew and chew on
dialogue in what feels like a long, dry exposition. Is Tarantino really full of
his own chitchat, or is he lulling us into comfort so the good stuff gets us to
our feet? Whatever the case, it works remarkably well.
Another reason: An all-star turn by Kurt Russell, who calls on Snake Plisskin
from Escape from New York only to smash the tough-guy stereotype with a solo
performance that had the audience howling.
In total, Grindhouse feels like a real force of nature. The few times it seems
more style than substance, some twisted joke or spot-on reference gets it back
on track. And eventually sweeps everyone up in its excitement. If Tarantino and
Rodriguez were hoping to make a film better than the poster, they exceeded
their own expectations.
Let's get ready to grind.
Reviewer: Norm Schrager





