72 of 79 people found the following review helpful
4.0 out of 5 stars Lotsa Fun
One thing that baffles me about "Grindhouse" is how little mainstream press coverage it has received. We've got a legitimately unique, unusual film experience here and I've heard hardly a peep from the same people who were going on and on about that movie what with all the snakes on the plane and that other one with all the spartans. (Nothing against those films, by the...
Published on April 7, 2007 by General Zombie
2 of 4 people found the following review helpful
3.0 out of 5 stars Two B-movies and four mock trailers
Grindhouse is a three hour-ten minute film celebrating the exploitation horror B-movies double bills from the '70s. It features a film from Robert Rodriguez (From Dusk `Till Dawn, Sin City), one from Quentin Tarantino (Pulp Fiction, Kill Bill) and four fake trailers made by several of the genre's best directors.
The film opens up with a Rodriguez written and...
Published on April 9, 2007 by Alan Draven
Most Helpful First | Newest First
5 of 5 people found the following review helpful
5.0 out of 5 stars Honey, does this M-16 stump-attachment make my butt look fat?,
In his epic poem "Endymion", the 19th century Scottish poet John Keats wrote that 'a thing of beauty is a joy to be treasured forever.'
It is clear now that Keats was either a man way ahead of his time, or had mastered some rudimentary time travel, because it is obvious now that he was writing about "Grindhouse".
What is "Grindhouse"? It is Beauty Incarnate. It sings to my soul, in a kind of mindless lullaby of growling saxophones and senseless slaughter amid 1950's juke-joint neon nihilism. It's perhaps the greatest work of art in Western Civilization.
Basically it's an ultra-hip, uber-violent wallow in filth, depravity, one-legged strippers, zombies, 1970's Times Square nostalgia served up by Quentin Tarantino and Robert Rodriguez.
I *did* mention the one-legged stripper with the M-16 and grenade-launcher attachments affixed to the bloody stumps, right? I wish there had been chicks like that in school.
Like Caesar's Gaul, "Grindhouse" is divided into three parts: Planet Terror (experimental military goop spawns flesh-devouring brain-eating zombies), Death Proof (experimental feminist stunt-driver goop & assorted cruelty spawns girl devouring unkillable stunt driver), and trailers (helmed by a wide range of horror directors, including Rob Zombie & Eli Roth, and featuring werewolves, axe-murderers, and a serial killer Puritan).
This is the point in most reviews where I'd go into detail regarding acting (though it has to be said that a)Kurt Russell commits major celluloid ownage as 'Stuntman Mike' & b) something in my body snapped while watching Rose McGowan do her strip routine. I mean, literally cracked, made a kind of spoingy noise), killer cinematograpy, all those loving little nods to the crappy gory films of halcyon grindhouse days (the mutilated, scratchy print), but you know, I really don't need to do that.
"Grindhouse" is enormously entertaining.
"Grindhouse" positively owns: it entertains, it blows things up, it terminates with extreme prejudice, it ushers everyone---Bruce Willis, Michael Biehn, Danny Trejo, Tom Savini, Nicolas Cage, Udo Kier, everyone!---behind its black gates. It bats its eyelashes. It get results. It shakes dat thang all night long, baby!
It has gobs of mutagenic zombies. It has suppurating flesh with big black pustules that spurt goop & raw tissue and buckets of blood! It has epic lines ("so y'all gonna look, or y'all gonna eat?" Hint: they'all gonna eat). It has fast cars! Faster bullets! Fastest women! It has Rosario Dawson!
Sure, the "Death Proof" segment gets a little talky, but I find myself thinking about it more than "Planet Terror"; it packs a kind of delayed-response mental fireball sort of impact. It's also full of all sorts of subtle little nastiness (plus stuntgirls, plus Kirk with his pomaded hair & crapkickers, plus howling banshee muscle cars painting up the hot-top with molten rubber), so keep an eye peeled.
If you don't like "Grindhouse" then you're a) un-American and b) potentially retarded, and should probably be crushed to death with a large couch.
4 of 4 people found the following review helpful
5.0 out of 5 stars TITILLATIONS! SHOCKS! PUSTULATIONS! Come get your guilty pleasure,
Despite the homogeneous nature of cinema, I keep going to the theater. Largely, it's because of dudes like Robert Rodriguez and Quentin Taratino, who both go their own way and who both offer up something that's so distinctively theirs that their names have become namebrands for a certain type of film. When they collaborated on this one, I knew it was gonna be something outrageous and offbeat, something decidedly unhomogeneous. With fanboy nudges and winks galore, these two maverick directors take us back to 1970s shlock with the gleefully offensive homage, GRINDHOUSE. In its sheer excessiveness and blatantly hokey sensibilities, this flick pulls no punches. It treats the audience to crass, old school sensationalism, incidental nudity, fake-looking geysers of blood, and rampant and visceral disembowelment. And I loved the hell out of it. In their efforts to mimic that grungy sensation of being in the cruddy theaters of old which specialized in playing trashy cinema, Rodriguez and Tarantino willfully insert scratches on the print, projector miscues, sound goofs, and bad dubbing. We even have title cards apologizing for missing reels, which occur in the most inconvenient of times. My neighbor, who is in his 60s and had also just gone to this film, told me that that exactly was what it was like to go to these low-rent, B-movie playhouses.
The double-feature bill starts with Rodriguez's cheesily apocalyptic PLANET TERROR, of which film title alone is reminiscent of many of those old time, sci-fi/horror B-movies. The plot centers on a mass zombie attack and humanity's last stand as embodied by a one-legged go-go dancer (as nicely played with jaded taciturnity by Rose McGowan), her inexplicably lethal boyfriend (Freddie Rodriguez), an adulterous, needles-touting nurse, and a few others. This feature is replete with campy dialogue and over the top, hilariously staged horror and action sequences. It also offers up a print that is marvelously grimy and grainy, and Rodriguez himself comes up with a pretty effective John Carpenter-like synthetic score which actually goes a far way in driving the no-nonsense storyline. By the way, creature make-up artist Tom Savini gets a bit part here as he plays a digit-less deputy, while Naveen Andrews is great fun to watch as the testicles-collecting bio-engineer.
The second billing is Tarantino's very talky DEATH PROOF, which is a callback to films such as VANISHING POINT, DIRTY MARY, CRAZY LARRY, and the original GONE IN 60 SECONDS (all of which are referenced in this flick). And, if anyone's seen the 1965 flick FASTER, PUSSYCAT! KILL! KILL! then DEATH PROOF will also have a certain familiarity. Kurt Russell does a deliciously villainous turn as the scarred Stuntman Mike who uses his death-proofed vehicle to viciously do away with gorgeous females. But he made the worst mistake of his life when he picked on fellow stuntperson Zoe Bell (who doubled for Uma Thurman in KILL BILL and who, here, plays herself).
With respect to the very natural Zoe Bell and her awesome ship's mast stunt, to me, the one to watch is Sydney Poitier (yes, it's his daughter) who plays the casually sexy Jungle Julia, she of the ravishing feet. Meanwhile, Rosario Dawson again can't help but sizzle on screen, while the very pouty-lipped Vanessa Ferlito...pouts her lips. If you're into extended dialogue which bears that distinctive Tarantino flourish, then the first half of this film is right up your alley because it's all significantly verbal and catered to the gentler sex - "gentler" being qualified here in that f-bombs are dropped with relished abandon. However, if you're an action fan, just wait 'til the second half because, then, Tarantino not only pulls out the stop signs, he smashes you in the mouth with 'em.
Last but certainly not least, mention must go to the quartet of coming attraction trailers, which range from the hilarious (MACHETE - "He just f**ked with the wrong Mexican!") to cliched shlock (DON'T and WEREWOLF WOMEN OF THE SS) to vaguely disturbing (I don't even want to know what was going on in Eli Roth's THANKSGIVING). But is it wrong of me to hope that they actually do the MACHETE film? There's also an ad for some kind of Tex-Mex restaurant with dubious shots of its menu samples, which made me queasy just looking at 'em.
Rodriguez and Tarantino, in their celebation of the exploitation films, inject GRINDHOUSE with their love for shlocky cinema and their exuberance, as well as with occasional drops of subversive humor. By doing so, they elevate this film tiers above the basement genre of their intended tribute. Their gifts for crafting cinematic icons are again on display as there is no doubt at all that Cherry Darling, Stuntman Mike, and Zoe Bell - ala the Bride or El Mariachi - will immediately imbed themselves into the public consciousness. At three hours long, yeah, my bum did fall asleep, but it's a small price to pay to gain admittance into blissfully trashy paradise.
4 of 4 people found the following review helpful
5.0 out of 5 stars "Ladies, we're gonna have some fun.",
"Grindhous"e might be one of 2007's big surprise hits of the year. For those of you who don't know, a grind house is a collection of motion pictures, trailers, etc. This decades-old tradition of ballsy exploitation gets a newborn creation from equally ballsy directors Quentin Tarantino and Robert Rodriguez . In a year where today's films, aside from "Smokin' Aces", are part of the play-it-safe era, leave it to the masters of homage to give it a major kick in the rear where it's well needed.
I'll review each film one by one.
Cherry Darling (Rose McGowan) is a go-go dancer who's tired of her job, yearning to be a stand-up comedian. Things go haywire when an outbreak from behind Army gates begins to spread. Everyone now has turned into a zombie, and one of them rips her leg clean off. She recieves help from her former flame El Wray (Freddy Rodriguez), as well as nurse Dakota Block (Marley Shelton) and army scientist Abby (Naveen Andrews).
Rodriguez's "Planet Terror" is by far the giddiest of the two films. It's where the director is able to embrace the sleazy nature of the film with body parts melting, Cherry using her new gun attached to her leg stump to eliminate the zombies, Black Eyed Peas' Stacy "Fergie" Ferguson with her [...] almost exposed and low-haning shorts, a poorly-cut sex scene, and blood-splattered action. Rodriguez also tops it off with plenty of film glitches (missing reels, melting frames, and print scratches) to add to the "Grindhouse" environment.
McGowan, who spent a short time away from the entertainment world after the long-lived WB! fantasy comedy-drama "Charmed", is back in full force. She gives the best line readings out of the cast (co-star Freddy Rodriguez comes a close second) that matches the world that surrounds her. Expect every red-blooded American male to have a boner after seeing her half-naked fighting off the mutants.
Even with some pause in the action to spend with the characters, "Terror" is still a mind-blowing effort with Rodriguez adding a heart-stopping moment at the final act.
Stuntman Mike Mikki (Kurt Russell) stops by the nearby bars to pick up lovely ladies with his lines. But at night, he kidnaps them and uses his car to kill them, just to get his kicks. After killing another batch of women (Rose McGowan and Vaness Ferlito among others), he moves in to pick off another batch of lovelies (Zoe Bell, Rosario Dawson, Tracie Thoms, and Mary Elizabeth Winstead). Little does he know it's not going to be that easy.
After the blood-'n-guts marathon that was "Planet Terror", Quentin Tarantino brings things a bit down to earth with "Death Proof." Be warned, though. If you don't have a lot of patience with Tarantino's rolling fields of dialogue, then you're gonna have a tough time getting into this film.
Otherwise, Tarantino gives out a reward for those who braves the verbosity. As soon as Stuntman Mike picks out his recent targets, QT is given a shot of ecstasy and directs the most intense chase scene since "Vanishing Point" (the latter gets a nod). It lasts 20 minutes long, and the ending will litereally shake the foundations of modern movie making. Top that with a terrific performance by Kurt Russell (Oscar-worthy?), and you've got a fitting end to one of the most explosive movie-going experiences of your life.
In between the films, additional directors have added fake trailers directed by B-level filmmakers. Rodriguez's "Machete", which is rumored to be included in a possible Grindhouse sequel (oh, dear sweet Lord, I hope that happens), follows Danny Trejo as a federale who does jobs that regular FBI/DEA agents wouldn't dare get killed on. Featuring an appearance from Cheech Marin as Father Benicio Del Toro, a possibility of this movie to exist in the future would be welcome.
Eli Roth directs "Thanksgiving", which stars Michael Biehn and Jay Hernandez among others. The film follows a kid who's in love with a turkey and then his father killed it and then he killed his family and went away to a mental institution and came back and took revenge on the town. This wacky trailer features gratuitous nudity and sexual foreplay that is interrupted by murder. Not bad, but nothing memorable.
"Werewolf Women of the S.S." is directed by Rob Zombie. As far as I remember, it's a spoof of Nazi films a la "Ilsa, She Wolf of the SS", and special guest Nicolas Cage gleefully hams it up as Fu Manchu. Now that's how I want to remember Cage!
Edgar Wright, who brought us "Shaun of the Dead", helms the goofy "Don't". The trailer goofs on all the films that "don't" want you to do this or do that. With an appearance from stars Simon Pegg and Nick Forst, as well as voiceover from Will Arnett, "Don't" is a wacky monster of a trailer, but I loved it. It all adds up to the best movie experiences so far this year.
9 of 11 people found the following review helpful
5.0 out of 5 stars The most entertaining movie of the year so far,
I went to see this with some resistance, but when a friend suggested seeing this I reluctantly agreed to do so. Besides, I had read some goof reviews and have enjoyed the work of both directors before, so I knew it wasn't impossible that I might like this double bill. I was wrong. I didn't like it; I loved it! In fact, while I have seen better movies in the past few months (THE LIVES OF OTHERS and PAN'S LABYRINTH, to name only two), I honestly can't remember the last time I had so much unadulterated fun seeing a movie. Robert Rodriguez and Quentin Tarantino's homage to a wide range of films that can generously be labeled "B" films lovingly pokes tongue-in-cheek at all those movies that we know are bad on one level but that we somehow managed to love anyway. They don't merely give us two more or less full length films (both have "missing reels") but several prevues (sic) of fake films made by guest directors such as Eli Roth (HOSTEL) and Rob Zombie, though the best of these prevues is by Rodriguez himself, MACHETE. They also have some parodies of those awful food clips urging the audience to go to the lobby and buy some food before the feature film starts. In fact, I have to confess that I'm not entirely certain as to when the film itself actually started. It was only when the preview for MACHETE started that I realized the movie had begun, though the food promos had been running before that.
The general wisdom in pairing two films is to put the more serious film second and that is what they do here. PLANET TERROR, Rodriguez's parody of zombie films (a genre that was wonderfully parodied a couple of year's ago in SLITHER), centers on a go-go dancer played by the astonishingly gorgeous Rose McGowan (if these two films don't revitalize her career it will be beyond explanation), who is caught in the middle of a zombie problem. Caused by a biological weapon that affects the entire community, the zombie infestation threatens to overwhelm humanity. The film is filled with every cliche in the book and then adds a few of its own. It is intentionally cheap and dumb all the way through, but Rodriguez has the talent to do intentionally what others in the genre have done accidentally. We are all familiar with movies that are so bad that they are good. Well, this is a film that is intentionally so bad that it is good. Many bits are completely over the top, but not less glorious for all that. Of the two films, I have to confess that I probably had more fun watching the first one. It is cheesier, busier, and filled with more ludicrous and genuinely funny moments.
I don't want to say too much about the Tarantino half of the film. I could pretty much tell you the entire plot of the Rodriguez PLANET TERROR and it wouldn't diminish anyone's enjoyment of it. What happens in that film is immaterial; it is all about how it happens. But for DEATH PROOF, the Tarantino film, it really does make a difference. I'll merely say two things. First, it is very much a film in homage to a host of fast car movies, in particular VANISHING POINT. Second, it features some absolutely spectacular stunt work. In fact, much of it was built around super-stuntwoman Zoe Bell, who plays herself in the film. Bell is probably the most famous tall stuntwoman in the business. A New Zealander, she was Lucy Lawless's stunt double in XENA: WARRIOR PRINCESS and came to more fame when Tarantino's THE BRIDE came out. Bell performed the stunts for Uma Thurman's character. Tracie Thoms and Rosario Dawson play fellow movie industry friends with some time off. Things lead eventually to Bell getting stranded on the roof of a Dodge Challenger at breakneck speeds. If the entire sequence doesn't raise your blood pressure, it isn't because you have ice in your veins; you would have to be a cyborg. It is great to see someone who has become famous for making lead performers famous get to star in something for a change.
There is some overlap between the two films. The first half of DEATH PROOF takes place before PLANET TERROR, though it isn't clear when the second half takes place. Rose McGowan and Quentin Tarantino have roles in both films. Both films were largely filmed in Austin, Texas, where Rodriguez has his headquarters. The casts for the two films are filled with a healthy blend of familiar and unfamiliar faces. Bruce Willis, who seems to be the cameo king of Hollywood, has a small part in PLANET TERROR, while the previews have several cameos, including Udo Kier, Nicholas Cage, and Sybil Danning.
Unless you have an unusually narrow idea of what constitutes a good movie I can't imagine many people not being blown away by this. Beautiful women, sinister villains, tons of laughs, thrills on top of thrills: what more could you ask of a film?
7 of 8 people found the following review helpful
5.0 out of 5 stars You'll get a lot of bang for your buck,
I liked Planet Terror a tad bit more than Death Proof, but I found them both to be very entertaining in different ways. PT was pure action and fun, while DP was dialogue and character driven. Kurt Russell turned in the best performance in Grindhouse. I just wish he had a little more screen time. These aren't just two movies back to back. You get the whole Grindhouse experience, with fake trailers and abused film stock. The fake trailers were almost as good as the movies themselves. RR and QT are masters in the art of being sick and disturbing as we all know, so making Grindhouse in all its grossness, is what we have come to expect from them. And they deliver!
5 of 6 people found the following review helpful
5.0 out of 5 stars A Glorious, Blood-drenched Good Time!,
"Grindhouse" is the most fun I've had at the movies in quite a while, and with good reason; these 2 brilliant films are a reminder of why I fell in love with film in the first place. I remember watching "Vanishing Point" with my Dad and younger brother on our local CH.39 as a kid and being glued to the screen during the seemingly non-stop chase sequences. This, along with other classics like "Duel" and "Corvette Summer" and T.V. shows like "BJ and The Bear", "The Dukes of Hazzard" and "Sherriff Lobo" shaped my childhood and created a strong bond between my Dad and I that remains to this day. We watched "Grindhouse" together and enjoyed (almost)every minute. (Dad is in his mid-60's now and understandably doesn't care for blood and excessive gore) but thought the story and acting was good). The over the top violence of Rodriguez' "Planet Terror" is offset by great performances from the entire cast, with special attention to Rose McGowen, a devilishly great Josh Brolin and a rather comedic yet heartwarming turn from Jeff Fahey (best in Texas!). "Deathproof" is another Tarantino masterpiece fusing his peerless talent for great dialogue (the scene in the bar between Sydney T. Poitier and Vanessa Ferlito is an instant classic) with the best car chase in modern cinema to form a tight, straightforward film that will dazzle and please any action fan or pop culture fanatic. While Rodriuez seems content to imitate the genre', Tarantino uses it as a template and expands on the formula injecting fresh blood and great words into a true cinematic experience that stays with you long after the credits roll. Terrific!
5 of 6 people found the following review helpful
5.0 out of 5 stars "Grindhouse" is excellent!,
"Grindhouse" is excellent! Both "Planet Terror" & "Death Proof" were excellent! The cast led by Kurt Russell (Stuntman Mike in "Death Proof") & Rose McGowan (Cherry Darling in "Planet Terror" & Pam in "Death Proof") is great! The directing by Indie Film masters, Robert Rodriguez ("Planet Terror") & Quentin Tarantino ("Death Proof") is excellent! The fake trailers in between the movies were great. The story and screenplay by Rodriguez ("Planet Terror") & Quentin Tarantino ("Death Proof") is excellent. The make-up effects by K.N.B. EFX Group is excellent. The music by Robert Rodriguez ("Planet Terror") and the music that was in Tarantino's "Death Proof" is excellent! The cinematography by Robert Rodriguez ("Planet Terror") & Quentin Tarantino ("Death Proof") is great. The film editing by Ethan Maniquis & Robert Rodriguez ("Planet Terror") & Sally Menke ("Death Proof") is great. The casting by Mary Vernieu is great. The set decoration by Jeanette Scott is great. This is a film that will keep you on the edge of your seat and wanting more, too. Another hit from the guys that brought you "Sin City" & "Kill Bill".
7 of 9 people found the following review helpful
5.0 out of 5 stars Gettin' Hit With Both Barrels,
Movie trailers often advertise films as "experiences," as "events," as "rides." They will take us somewhere, transport us beyond the gum-crusted seats in which we sit, lift us up as surely as Dorothy and drop us rattled and dazed into lands where we buy wonder, fear, and redemption with the currency of our minds and hearts. Although not unheard of, rarely does this actually happen.
Tarantino and Rodriguez are students of movies, and it's obvious in almost everything they've ever produced. Pulp Fiction's dialogue driven, time-skewed madness. El Mariachi's low-budget, high-octane lunacy. These are movies made by men who, if nothing else, absolutely and without question love movies.
But they don't just love the images and the sounds. They love the floors with their grumous layers of soda syrup. The creaking chairs with leaking, uneven padding. The pops and jiggles of a misfed reel slowly charring in front of the projection bulb's unforgiving wattage. The experience of being out, in the cool and dusty cavern of a movie theater, being fed high-fat, low-brow luminosity on a warped and smoke-stained screen.
"Grindhouse" is not just two over-the-top films done to ghoulish perfection (although it is that). It is a celebration of the act of watching movies, as it once was, the voyeuristic and prurient pleasure of indulging in a little brain-dead chewiness, munching on candy and popcorn in the safety of the dark. From its brilliantly misconceived faux-trailers for movie's you'll never see released (Hostel's Eli Roth directs one of the funniest -- a depraved segment called "Thanksgiving;" Shaun of the Dead's Edgar Wright directs another -- a hilarious horror spoof called "Don't") to it's conveniently "missing" reels, "Grindhouse" pelts the audience with thrills-n-chills that are as light and lip-smacking as aspartame.
The first feature, Rodriguez's "Planet Terror" is a zombie film that, with its mob of stock characters, is all over the map. The dialogue practically drips aerosol chedder, the story is rife with corn-fed irony, and the scenes explode with a violence so decadent, so ripe with an unbelievably juicy gratuitousness (when the zombie's are shot they pop like Hefty bags filled with old tomato soup) that by the time Quentin Tarantino's character begins to fall apart on-screen, you'll be too busy wondering how they got away with it to actually be disgusted by it all.
The second flick, "Death Proof," is easily the weaker installment, and only because Tarantino, perhaps a bit drunk on his scriptwriting prowess, tried to tie in too much of the unconciously clever verbal sparring that made Reservoir Dogs such a fantastic film. Most of the cast consists of young, very attractive women who are preyed upon by an old-tyme stunt driver named Mike (Kurt Russell expertly mixing charm with indefinable menace). When Mike isn't chasing them down in his car, he and they are waxing poetic on things like sex and weed. It's a matter of pacing, certainly, and Tarantino is obviously using his trademark verbal glitter to set up the tension for the film's final gruesome moments. Even if it plays out a little too long, the pay-off is so sloppily redemptive, so drunkenly daring that you'll barely remember watching it.
You will, however, remember the experience.
2 of 2 people found the following review helpful
5.0 out of 5 stars Live the Grindhouse Experience in its Fullest,
Back when movies didn't make a statement, but instead exploited every adrenaline surge they could possibly muster, the Grindhouse cinemas churned out horrid gore, cliched characters, sexploitation for no purpose other than to objectify women, and complete unbelievability in drama. They were exactly what you expected and the theaters were noisy, smelly, and the equipment always faulty. This wasn't for your first-run movies or even for your Oscar Contenders held over for another month. This was back to back gratuitous adrenaline for those of stunted maturity.
From missing reels to stretched film to spots on the lens and burned sections, it really recreated everything one would expect out of a place where missing a 20 minute section had no effect on plot nuance. Besides that, this film was a veritable treasure of cameo appearances from every actor and actress that makes you say, "I know that dude, he was in . . . " or "I've seen that hot chick before." You know, all those actors that you know but don't know the names of, like that guy from Lost, Sayeed; or the guy who was the Hispanic undertaker on Six Feet Under. Amazingly well-cast, it looked like everyone was in it for the fun - the over-the-top ridiculousness of a gore-fest.
Comparing the two films, however, brings me to a bit of a deeper insight. Rodriguez wrote and directed Planet Terror, a movie about a biological weapons release that threatens destruction of the human race by turning everyone into flesh-eating zombies. Tarantino wrote and directed Death Proof about a stuntman turned serial killer who uses his car as a murder weapon. The both have their strengths, and they both belong in the double feature for different reasons. Planet Terror is soaked in blood and lacks nothing in gratuitous gunplay, down to Rose McGowan's leg amputation and machine gun prosthetic. There are no surprises in this film, it's exactly what the Grindhouse genre is all about, in fact so much so that I feared that this was a movie which would inspire a market flood of resurgent movies. Freddie Rodriguez as the gun toting hero was a colorful, but only hinted at, secret life. (he's the dude from Six Feet Under)
Tarantino's film was a psychological thriller as much as a grindhouse. He spends a lot of time setting up Kurt Russell's character, Stuntman Mike, and creating a semi-believable obsession and a reputation for the viewer as a bad-ass, but then blows the audience away was the expected turned unexpected, twisted and snapped around like a drama whip, finally ending in true Grindhouse form. Wow. It was my favorite of the two.
Not for the timid or squeamish. Not for the critic or the connoisseur. Perfect for the rest of us.
- CV Rick
5 of 6 people found the following review helpful
5.0 out of 5 stars Cocksure Great!,
First off, the two current low ratings for this movie are unfortunately written by individuals that didn't know the purpose of GRINDHOUSE. It's a homage to the cheap, low budget grindhouse movies of the seventies (chiefly) and eighties, and the theaters that showed them. And when you watch it from that viewpoint, you realize that it delivers everything that it promises.
Most Helpful First | Newest First
Out of stock