Review: "Dark Blue" Dark Indeed

TRASH IN MY EYE No. 22 (of 2003) by Leroy Douresseaux


Dark Blue (2003)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R for violence, language and brief sexuality
DIRECTOR: Ron Shelton
WRITERS: David Ayer; from a story James Ellroy
PRODUCERS: David Blocker, Caldecot Chubb, Sean Daniel, and James Jacks
CINEMATOGRAPHER: Barry Peterson
EDITORS: Patrick Flannery and Paul Seydor
COMPOSER: Terence Blanchard

CRIME/DRAMA with elements of action and thriller

Starring: Kurt Russell, Scott Speedman, Michael Michele, Brendan Gleeson, Ving Rhames, Kurupt, Lolita Davidovich, Dash Mihok, Master P, and Khandi Alexander

The subject of this movie review is Dark Blue, a 2002 crime drama from director Ron Shelton (Bull Durham) and writer David Ayer and based on an original story by James Ellroy. The film was released to theatres in February 2003.

Describing Ron Shelton’s Dark Blue is not an easy task. Even if I only dealt with the surface issues, I’d still have a hard time defining the film. What I can say is that it is brutal and unflinching in its display of violence, corruption, and human frailty. Shelton, who usually writes his own screenplays, has a devil of script in this one with which to work. James Ellroy, the mack daddy of American crime fiction and the novelist of L.A. Confidential, wrote the story and David Ayer, the writer of Training Day and The Fast and the Furious, wrote the script; thus, the pedigree of the story is one of immense power and frank honesty when dealing with the Los Angeles on a street level and in its darkest corners.

Set in the Los Angeles Police Department (LAPD) on the eve of the 1992 riots after the “Rodney King Beating Trial” verdict, the film focuses on a hardnosed cop with a penchant for shooting suspects, Sgt. Eldon Perry, Jr. (Kurt Russell) and his youthful partner Bobby Keough (Scott Speedman), whom Perry is training to follow in his tough footsteps. Perry is sometimes a kind of hit man and troubleshooter for his boss Jack Van Meter (Brendan Gleeson), who is also Bobby’s uncle. Van Meter’s web of deceit has drawn the attention of an ambitious deputy chief (Ving Rhames), who closes in on the corruption as the city awaits the verdict of King trial.

Dark Blue isn’t just about police corruption although that seems to be its central focus. The film has so much going on around the central character Perry that it’s hard to zero in on any particular issue. It’s about how people get drawn into the darker side of the law and remain there despite their misgivings. It’s about the ends justifying the means and about doing whatever you want to do or believe you have to do regardless of the cost to others.

More than anything, Dark Blue reveals how a select group of men treat the LAPD like their own personal boy’s club where they can live the most selfish and hedonistic lifestyle they want to live and the public pays the their club dues. Dark Blue makes it quite plain and matter of fact that quite a few cops look the other way when it comes to corruption and that some “officers of the law” are as bad or worse then the criminals they supposedly fight. Even the good guys are tainted. In fact, after seeing this, I have my doubts that bad cops actually only make up a very small percentage of police departments. Corruption is the cancer, but material gain is the alluring scent that draws them to the sickness. Of course, a lot of policemen look the other way because they know how easy it is to cross the line.

It takes a good cast to carry off a film like this, one that deals with difficult and angry subject matter in such a frank manner. Kurt Russell continues to affirm his status as a great male star in the tradition of the great tough guys, and he can act. I could read the drama in his face and see the character’s turmoil and conflict; Russell didn’t have to say a word. He only had to act. Scott Speedman plays the youthful and slowly corrupted Bobby with a charm that engages us to him especially when he’s trying to be a bad boy. Ving Rhames and Brendan Gleeson are fine character actors; they always bring something of themselves, their own personal style, to their characters, which gives those characters flavor.

Dark Blue may be an L.A. story, but its elements and themes are universal. The same issues that plagued the men and the bureaucracy of law enforcement in 1992 before the riots still bother them today. It’s good that Ellroy, Ayers, and Shelton can turn this disease into a big messy film full of ugliness, making us confront the mean streets and the even meaner men who play on it.

Dark Blue isn’t slick entertainment, and it does drag at times. Like Michael Mann’s Heat, it takes its time building up steam before it blows up in our faces. Good. Some things about “the law” need to gut punch America if the country’s going to pay attention. Shelton builds the tension slowly, but the audience needs the set up to get the payoff. If the ending seems confused, it’s the only appropriate one for a movie so deeply involved in the drama of life. I like having an important movie be this rough, crime drama (heck, I just like a good crime drama) that craps on the gloss of Hollywood. The art of drama doesn’t have to be pretty.

7 of 10
B+

NOTES:
2004 Black Reel Awards: 2 nominations: “Best Supporting Actor” (Ving Rhames) and “Best Supporting Actress” (Michael Michele)

Review: "Big Trouble in Little China" is Still a Big Deal (Happy Birthday, Kurt Russell)

TRASH IN MY EYE No. 7 (of 2003) by Leroy Douresseaux

John Carpenter’s Big Trouble in Little China (1986)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – PG-13
DIRECTOR: John Carpenter
WRITERS: Gary Goldman and David Z. Weinstein; adaptation by W. D. Richter
PRODUCERS: Larry J. Franco
CINEMATOGRAPHER: Dean Cundey
EDITORS: Steve Mirkovich, Mark Warner, and Edward A. Warschilka
COMPOSERS: John Carpenter and Alan Howarth

ACTION/ADVENTURE/FANTASY with elements of comedy

Starring: Kurt Russell, Kim Cattrall, Dennis Dun, James Hong, Victor Wong, Kate Burton, and Donald Li

Big Trouble in Little China is a 1986 fantasy and martial arts film from director John Carpenter (Halloween) and starring Kurt Russell. The comic adventure film follows a truck driver who plunges into a mysterious underworld beneath Chinatown where he takes on a powerful ancient sorcerer.

Big Trouble in Little China may well be John Carpenter’s most entertaining film with its heady mish mash of kung fu, eastern mysticism, action movies, fantasy, and camp. It’s a celebration of how a dumb movie can actually be outrageous, inventive, silly, and kinda smart, after all.

The story revolves around big-talking, wisecracking trucker Jack Burton, played by Kurt Russell as a kind of John Wayne beset by bad luck and pratfalls. Determined to get money owed to him, Burton follows Wang Chi (Dennis Dunn), a business associate, to the airport to pick up his fiancée, Miao Yin (Suzee Pai). When gang members kidnap her, Jack and Wang follow them into a wild adventure that tests the limits of Jack’s endurance and disbelief. Lo Pan (James Hong), a 2,000-year-old sorcerer who rules an underground empire in Chinatown, needs Miao to extend his life and power. A busybody lawyer (Kim Cattrall) further complicates Jack’s life when she tags along for the ride through Lo Pan’s terror filled labyrinth.

Carpenter directs the film at a break neck pace. Virtually every scene is packed with something strange and wondrous, so much so that the viewer never has time to really pay attention to the holes in the film. But it’s all played for fun: wild and lunatic martial arts fights, bizarre and ugly monsters, colorful costumes, imaginative sets, sparkling special effects, off-kilter shootouts and chases. It’s a great time at the movies, and that it maintains its charm without its SFX seeming dated is a testament to Carpenter’s skill, an under appreciated cinematic genius.

As usual, the team-up of Carpenter and actor Kurt Russell, who have worked together on three films and a television movie, results in a good movie. Russell, known as an action star, is actually an excellent comic actor. I don’t think this movie would really work without him, and it is certainly worth watching again because of him.

8 of 10
A

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Review: John Carpenter's "The Thing" Still a Great Thing

TRASH IN MY EYE No. 35 (of 2005) by Leroy Douresseaux

John Carpenter’s The Thing (1982)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R
DIRECTOR: John Carpenter
WRITER: Bill Lancaster (based upon the story “Who Goes There” by John W. Campbell, Jr. writing as Don A. Stuart)
PRODUCER: David Foster and Lawrence Turman
CINEMATOGRAPHER: Dean Cundey
EDITOR: Todd Ramsay

SCI-FI/HORROR/THRILLER/MYSTERY

Starring: Kurt Russell, A. Wilford Brimley, T.K. Carter, David Clennon, Keith David, Richard A. Dysart, Charles Hallahan, Peter Maloney, Richard Masur, Donald Moffat, Joel Polis, and Thomas G. Waites

Considered a remake of Howard Hawk’s Cold War-era classic, The Thing from Another World, John Carpenter’s The Thing is actually an adaptation of a one of the early classic science fiction short stories by acclaimed science fiction editor and writer, John W. Campbell, Jr., (also the basis of Hawk’s film). Carpenter does pay homage to the Hawk’s film in a few scenes.

The film takes place in 1982 at an American research camp in Antarctica. After a violent encounter with two Norwegians from a nearby base camp, the Americans, led by MacReady (Kurt Russell), learn that the Norwegians had discovered an alien space craft buried in the Antarctic ice and an alien passenger lying frozen near the craft. When the Norwegians thawed the creature, they discovered that the thing was still alive. The creature can absorb and take on the identities of living creatures. Now, the creature is loose in the American base, and MacReady leads the human survivors in discovering who among them is still human and who is not. They must also destroy “the thing” before it reaches the mainland and the rest of humanity.

The Thing is a study in paranoia, and director John Carpenter helmed one of the truly great sci-fi horror films by getting the most of his collaborators, such as Rob Bottin, a then 22-year old special effects man, who created special makeup effects that are considered a benchmark in film history. Ennio Morricone’s score is an understated masterpiece that quietly increases in intensity as the film progresses and raises the tense mood tenfold.

Carpenter, of course, didn’t rely solely on Bottin’s incredible effects work. He used his talented cast of character actors to create three-dimensional players who make this horrible but exceedingly fantastic situation seem possible. Kurt Russell once again proved why he is a leading man with charisma and machismo in the mode of classic Hollywood leading men like John Wayne and Kirk Douglas. And no matter how many times I see this film, The Thing always proves itself to be great.

9 of 10
A+

Review: Disney's "The Fox and the Hound" is Still a Joy to Watch

TRASH IN MY EYE No. 79 (of 2011) by Leroy Douresseaux

The Fox and the Hound (1981)
Running time: 83 minutes (1 hour, 23 minutes)
MPAA – G
DIRECTOR: Ted Berman, Richard Rich, and Art Stevens
PRODUCERS: Ron Miller (executive producer), Wolfgang Reitherman (co-producer), and Art Stevens (co-producer)
WRITERS: (story) Larry Clemmons, Ted Berman, David Michener, Peter Young, Burny Mattinson, Steve Hulett, Earl Kress, and Vance Gerry (based upon the book by Daniel P. Mannix)
EDITORS: Jim Koford and James Melton
COMPOSER: Buddy Baker

ANIMATION/FANTASY/DRAMA/FAMILY with elements of action and comedy

Starring: Mickey Rooney, Kurt Russell, Pearl Bailey, Jack Albertson, Sandy Duncan, Jeanette Nolan, Pat Buttram, Richard Bakalyan, Paul Winchell, Keith Coogan, Corey Feldman, John Fiedler, and John McIntire

This year is the 30th anniversary of the original release of the Walt Disney animated feature film, The Fox and the Hound (specifically July 10, 1981). It was re-released in 1988, which is when I first saw the film, when my late sister and I took our first cousin (then about five-years-old) to see the movie.

I liked the film when I first saw it, and Walt Disney Home Entertainment’s recent release of an anniversary Blu-ray and DVD of the film gave me a chance to see it again. I still like, and though it may not be as good as such films as Bambi or Beauty and the Beast, The Fox and the Hound is a visually beautiful film full of gorgeous colors. It is a personal favorite of mine because it recalls fond memories of days gone by.

The Fox and the Hound is based upon the Daniel P. Mannix novel of the same title, but the film removes the element of death that is apparently a big part of the novel (which I’ve never read). The film tells the story of two unlikely friends, a red fox named Tod and a hound dog named Copper. The film begins with a young red fox being orphaned by its mother. Big Mama (Pearl Bailey), an owl, sets it up so that the fox is adopted by Widow Tweed (Jeanette Nolan), who names the fox, Tod (Keith Coogan).

Meanwhile, her neighbor, Amos Slade (Jack Albertson), brings home a young coonhound puppy that he names Copper (Corey Feldman), and introduces to his old hunting dog, Chief (Pat Buttram). Tod and Copper become friends, but that angers Chief and Slade, who hunts animals, including foxes, for their pelts. Tod and Copper remain friends, but their natural instincts begin to drive them apart. When they reach adulthood, Tod (Mickey Rooney) and Copper (Kurt Russell) must confront the reality of their situation – that they are natural enemies.

The Fox and the Hound, Walt Disney’s 24th full-length animated feature film, is considered average by some. The story isn’t as complex as some Disney films, and the songs are indeed mostly average. However, the film is a parable about how society demands that individual accept predetermined roles even in spite of an individual’s better impulses to do something different, so I give this movie credit for that. Its themes of prejudice and friendship outside of social circles make it memorable, and those themes resonate with audiences, both young and old. The film deals with prejudice in an intelligent way, particularly because Tod is actually the lead character. Thus, the audience sees prejudice and persecution directly through the eyes of the fox, who is basically the inferior.

The film is also very well animated. The character animation is quite good, particularly in the facial expressions, depictions of emotions, and general movement of the animals. Glen Keane, then part of a young generation of Disney animators, does stellar work in supervising the animation in the scene of the fight between Copper, Tod, and the bear. This is one of the great animated sequences in the history of Disney films.

Pearl Bailey also delivers the film’s best voice performance as Big Mama, although Mickey Rooney is quite good as the adult Tod. The Fox and the House may not be considered one of Walt Disney’s best, but with its vivid colors, lush forest and outdoor backdrops, and dynamic character animation, it represents what Walt Disney Animation Studio does best – create the illusion of life.

8 of 10
A

Wednesday, September 28, 2011

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Review: Always Ready to Escape to "Escape from New York" (Happy B'day, Kurt Russell)

TRASH IN MY EYE No. 28 (of 2004) by Leroy Douresseaux

John Carpenter’s Escape from New York (1981)
Running time: 99 minutes (1 hour,  39 minutes)
MPAA – R
DIRECTOR: John Carpenter
WRITERS: Nick Castle and John Carpenter
PRODUCERS: Larry Franco and Debra Hill
CINEMATOGRAPHERS: Dean Cundey and George D. Dodge (D.o.P.)
EDITORS: Todd Ramsay
COMPOSERS: John Carpenter and Alan Howarth

SCI-FI/ACTION/ADVENTURE/THRILLER

Starring: Kurt Russell, Lee Van Cleef, Ernest Borgnine, Donald Pleasence, Isaac Hayes, Harry Dean Stanton, Adrienne Barbeau, and Tom Atkins

One film certainly deserving of its cult movie status is John Carpenter’s early 80’s futuristic sci-fi thriller, Escape from New York. Set in (what was then) the future of 1997, Manhattan Island in its entirety is a giant maximum-security prison where all hardened convicts are sent for life i.e. no one gets out alive.

Early in the film, a terrorist hijacks Air Force One and crashes it into Manhattan. The President (Donald Pleasance) escapes the crash in a pod, but he falls into the clutches of Manhattan’s overlord, The Duke of New York (Isaac Hayes). The Duke holds the President hostage, in an attempt to use him as leverage for his own release from the island.

After the security force that guards the prison on Manhattan Island is unable to rescue the president, the “warden” of the prison, Bob Hauk (Lee Van Cleef), tries something different. Hauk makes a deal with a former Special Forces serviceman turned bank robber, Snake Plissken (Kurt Russell), who is about to be imprisoned on the island. All Plissken has to do is sneak onto the island and rescue the president in 23 hours, and Hauk has a micro detonation device inserted into Plissken’s neck to give him incentive to complete the mission.

Escape from New York might be seen a cheesy entertainment, and much of the film, both in story and production values, certainly seems dated, but the film remains an excellent example of speculative science fiction film, especially of the sci-fi action/adventure sub-genre. Carpenter, an exceptional director when he’s on his game, was right in the middle of his golden age. Escape from New York is a delicious, wacky gumbo that combines several film types: urban thriller, western, search and rescue, gangster, exploitation. Carpenter is an imaginative filmmaker and storyteller, who mixes pop science with pulp fiction craziness quite well.

Kurt Russell, a frequent collaborator of Carpenter’s, does his usually cool John Wayne riff, mixing it with a flavor that can be best described as a pre-hip hop gangsta/thug precursor. Escape from New York gives us Snake Plissken, a wonderful and strangely endearing character for such a hard ass. If anything, Russell’s Plissken is always worth the price of admission.

7 of 10
B+

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Review: "Vanilla Sky" is a Crazier Cruise-Diaz Team-Up

TRASH IN MY EYE No. 20 (of 2001) by Leroy Douresseaux

Vanilla Sky (2001)
Running time: 136 minutes (2 hours, 16 minutes)
MPAA – R for sexuality and strong language
DIRECTOR: Cameron Crowe
WRITER: Cameron Crowe (based upon the film Abre los Ojos (Open Your Eyes) by Alejandro Amenábor and Mateo Gil Rodreguez)
PRODUCERS: Cameron Crowe, Tom Cruise, and Paula Wagner
CINEMATOGRAPHER: John Toll (D.o.P.)
EDITORS: Joe Hutshing and Mark Livolsi
COMPOSER: Nancy Wilson
Academy Award nominee

DRAMA/FANTASY/ROMANCE/SCI-FI/THRILLER

Starring: Tom Cruise, Penélope Cruz, Cameron Diaz, Kurt Russell, Jason Lee, Noah Taylor, Timothy Spall, Johnny Galecki, Michael Shannon, and Tilda Swinton

David Aames (Tom Cruise) is the wealthy scion of a publishing empire who lives only for himself and his pleasures. He treats his novelist friend Brian Shelby (Jason Lee, Chasing Amy) as a possession to be admitted or dismissed as needed, though Aames often professes deep love for Shelby. He has recreational sex with another friend, Julie Gianni (Cameron Diaz), a girl who practically admits to being around the block quite a few times. At a party that he hosts, David sees a stunning beauty that Brian has brought to the party with him. The looker, Sofia Serrano (Penelope Cruz, who was in the Spanish film upon which Vanilla Sky is based), throws David for a loop and he falls very hard for her.

Aww, but Julie is jealous; she follows David and is waiting for him after he spends the night (a sex free night) with Sofia. In an insane rage, Julie, with David a passenger, runs her car off the road, killing herself. David survives, but his body is damaged and his face is badly scarred. From that point, David’s life is a series of time shifts; past, present, and future loose their meanings.

Directed by Cameron Crowe, who also directed Tom Cruise in Jerry Maguire, Vanilla Sky is a mind numbing and genre bending film that mixes elements of romance, romantic thriller, mystery, suspense, and science fiction. It demands the viewers’ complete attention, while it careens across the screen like the out of control car that changes David Aames life.

Vanilla Sky is also a movie that can test an audience’s patience. It has ideas and messages, and most people do not want their movies to preach to them, at least not preach smart ideas. They want a loud, vivid, cinematic experience – special effects and movie magic. “Entertain me” is the mantra, and Crowe adds only the thinnest of candy coatings to his film.

The movie begins with a beautiful scene in which David discovers that he is alone in Times Square; he runs down the street for a few minutes totally afraid of being alone before we learn that this is a dream. There are also voiceovers while we follow David’s privileged life. There is the accident, and then we find David in a dark room wearing a mask, while a psychologist (Kurt Russell) prods him for answers regarding a murder of which David has been accused. From then, we’re bouncing back and forth through time, through illusions, dreams, fantasies, flashbacks. It can be disconcerting, but the film is so alluring that you want to soldier on.

Cruise has always been a good actor in the hands of good director, and Crowe is good. Over his career, Cruise has learned to open himself up to the possibilities of using his handsome face to express a variety of feelings and emotions, where once he simply lit up that million dollar smile and that was that. He is good here and quite believable. It’s no trick to play a spoiled, wealthy brat, but he convincingly transforms himself into the tortured package of damaged goods.

The supporting cast in nice, but while Penelope Cruz got all the attention, Diaz is the surprise. Some may believe her looks carry her career, but she can act. She plays the wild, vulnerable, hurt, and angry Julie Gianni to the hilt while also playing it down low and subtle. She creates a three-dimensional villain of sly evil and of terrible sadness.

Vanilla Sky is rife with musical references, most of which are quite annoying, but the Jeff Blakely reference is dead on appropriate for its scene. There are lots of visual references from pop culture to fine art, and they mean something, but you have to catch them, as they fly by so quickly.

Vanilla Sky is a good film, especially because it asks for the viewer to get involved where most movies only want to yell at you. At its heart are good messages about responsibility for the choices one makes, selfishness, love, and sacrifice. It stumbles and rushes to it fantastical, sci-fi ending that almost destroys film, but the movie is a worthy effort by ambitious talents. By no means perfect, it is still a grand entertainment and a wonderful puzzle with which to struggle, and it doesn’t mind trying to be smart even when it over reaches its ambitions.

7 of 10
B+

NOTES:
2002 Academy Awards: 1 nominations: “Best Music, Original Song” (Paul McCartney for the song "Vanilla Sky")

2002 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Paul McCartney for the song "Vanilla Sky") and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Cameron Diaz)

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Review: "Grindhouse" a Two-Fisted Double Dose

TRASH IN MY EYE No. 72 (of 2007) by Leroy Douresseaux

Grindhouse (2007)
Running time: 192 minutes
MPAA – R for strong graphic bloody violence and gore, pervasive language, some sexuality, nudity, and drug use
CINEMATOGRAPHERS/WRITERS/DIRECTORS: Robert Rodriguez (Planet Terror, and fake trailer segment “Machete”) and Quentin Tarantino (Death Proof)
PRODUCERS: Elizabeth Avellan, Robert Rodriguez, Erica Steinberg, and Quentin Tarantino
EDITORS: Ethan Maniquis and Robert Rodriguez (Planet Terror) and Sally Menke (Death Proof)

ACTION/HORROR/SCI-FI/THRILLER

Starring: (Planet Terror) Rose McGowan, Freddy Rodriguez, Michael Biehn, Naveen Andrews, Josh Brolin, Jeff Fahey, Stacy Ferguson, Nicky Katt, Michael Parks, Quentin Tarantino, and Bruce Willis; (Death Proof) Kurt Russell, Rosario Dawson, Tracie Thoms, Zoe Bell, Mary Elizabeth Winstead, Sydney Tamiia Portier, Vanessa Ferlito, Rose McGowan, Jordan Ladd, Jonathan Loughran, Eli Roth, and Quentin Tarantino

Directors Robert Rodriguez (Spy Kids, Sin City) and Quentin Tarantino (Pulp Fiction, Kill Bill) present two-full length movies in their horror double feature, Grindhouse. The film is an ode to theatrical double and triple features shown at grindhouse theatres (called such because these theatres would grind out one movie after another). Most of the films shown at grind houses were exploitation films involving sex, violence, crime, sci-fi/horror, or race (blaxploitation). Rodriguez and Tarantino’s Grindhouse also includes four fake trailer segments for non-existent movies – an homage to how grindhouse theatres would show many trailers for upcoming films between double features.

The first feature is Rodriguez’s zombie horror flick, Planet Terror, in which a small Texas town finds itself inundated by fellow townsfolk who have mutated into flesh-hungry zombies. A mysterious trucker named Wray (Freddy Rodriguez) and a go-go dancer named Cherry Darling (Rose McGowan), who had her right leg ripped off by zombies, join forces to fight the monstrous invasion. Wray eventually replaces Cherry’s missing leg with an automatic rifle, and the pair lead an group of accidental warriors in a bid to stop Lt. Muldoon (Bruce Willis), a rogue military officer, from making the all-ready dire situation worse.

The second feature film is Quentin Tarantino’s Death Proof, in which Stuntman Mike (Kurt Russell), a scar-faced rebel-type, stalks college-age beauties in a small Texas town. Popular DJ, Jungle Julia (Sydney Tamiia Portier) and her pals Shanna (Jordan Ladd) and Arlene (Vanessa Ferlito) don’t know that a killer has his eyes on them. Stuntman Mike is really a murderer, who uses his muscle car as his weapon. Stuntman Mike, however, eventually meets his match when he attacks a trio of women who work as film crewmembers. On the back roads of Tennessee, Stuntman Mike engages in a duel to the death with Kim (Tracie Thoms), Zoe (Zoe Bell, a real life stuntwoman), and Abernathy (Rosario Dawson).

Although I never experienced grindhouse theatres, I am somewhat familiar with exploitation films. In fact, I’ve seen enough of those to know that well before Grindhouse, Rodriguez and Tarantino’s films were capturing the vibe of 1970’s exploitation cinema.

With the sound dropping out or fading, a scratchy picture, bad splicing, etc., Rodriguez’s Planet Terror looks like a movie played from a print that’s been dragged across the country. Besides that, it’s a damn fine sci-fi/horror movie – certainly on par with Rodriguez’s late 90’s teen horror flick, The Faculty, although not quite as good as From Dusk ‘til Dawn. It’s one of the best zombie films to come around since Resident Evil kick-started this horror sub-genre back to life in 2002.

Planet Terror is a hoary old beast of a movie, created by modern movie science, but formed and shaped with an eye on the excesses of 70’s cinema. It’s violence and gore is a work of art and a labor of love. Plus, it’s damn funny when you get down to it, with a mixture of social satire (especially the fake trailer segment “Machete,”) and movie parody with a touch of irony.

Tarantino’s Death Proof is the better of the two films, but not by much. It was born from Tarantino’s love for late 60’s/early 70’s car chase films like Bullitt and Vanishing Point. Whereas Rodriguez showed his love for exploitation movies by making one that looks like an exploitation flick, Tarantino borrows from those films and makes something that is both technically and artistically superior. It’s like Steven Spielberg directing a slasher horror movie.

As is usual with Tarantino films, the dialogue is good, but, here, the action sequences with the cars make Death Proof. In fact, that first car crash is unforgettable – a stroke of genius on Tarantino’s part for the way he executed it. Tarantino insisted that there by no CGI for the car chase sequences in Death Proof, yet the first car crash and the long chase sequence that ends the film are breathtaking and far scarier than even the cool CGI-enhanced chases in films like The Matrix Reloaded and Bad Boys II.

Ultimately Grindhouse is a gift to people who obsess about movies from two guys who obsess about movies and movie making. I left the theatre thinking that I owed them something more than just the cost of a ticket for the joy they gave me.

8 of 10
A

NOTES: The creators of three of the four fake trailer segments are as follows:
Writer/Producer/Director: Eli Roth (fake trailer segment “Thanksgiving)
Writer/Director: Edgar Wright (fake trailer segment “Don’t”)
Writer/Director: Rob Zombie (fake trailer segment “Werewolf Women of the S.S.”)
Writer: Jeff Rendell (“Thanksgiving”)
Producers: Daniel S. Frisch and Gabriel Roth (“Thanksgiving”)

Saturday, May 05, 2007

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