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Forums Index -> The Shiver Shack -> Grind House (2007)
FilmCritic3000
PostPosted: Mon May 28, 2007 11:42 pm  Reply with quote



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Tsotha-lanti wrote:
I know I feel stupid ragging on a movie I haven't seen yet (though I have read the script), but even the extended "Cannes cut" couldn't get more than a PG-13 equivalent from the Danish ratings boards. I guess Pondo was right when he said it wasn't enough of an exploitation movie... Laughing

Oh yeah, and it didn't win anything at Cannes.


Didn't it screen out of competition?
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pondo sinatra
PostPosted: Mon May 28, 2007 11:50 pm  Reply with quote



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Tsotha-lanti wrote:

Oh yeah, and it didn't win anything at Cannes.


Neither did the Coen Bros.' latest, but unlike the Coen Bros.' latest: DEATH PROOF isn't even being talked about. Why is that? It sucked.

When Artie Lange's BEER LEAGUE (already on DVD in the states) gets more positive press at Cannes (it was a mediocre film. Funny, but unremarkable, in the least) than the A-list, Academy Award winnning (lol) "pedigree" project from Tarantino & The Brothers Satan (i. e. Weinstein) then you know the worm has turned for Cap'n Crunch.

It's about time!

Brother Tsotha - this news makes my day. It took 15 years for such humble pie to be served up to Tarantino, but here's to hoping he has another JACKIE BROWN in 'em. Doubtful, but one can at least try to be positive.
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pondo sinatra
PostPosted: Tue May 29, 2007 12:00 am  Reply with quote



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FilmCritic3000 wrote:


Didn't it screen out of competition?


No, that turd was indeed in competition.

Here's the full list of films screened in competition:

Quote:


- Auf Der Anderen Seite - Fatih Akin (Germany-Turkey)

- Une Vielle Maitresse (An Old Mistress) - Catherine Breillat (France)

- No Country For Old Men - Joel and Ethan Coen (U.S.)

- Zodiac - David Fincher (U.S.)

- We Own the Night - James Gray (U.S.)

- Les Chansons d'Amour (Love Songs) - Christophe Honore (France)

- Mogari No Mori (The Mourning Forest) - Naomi Kawase (Japan)

- Breath - Kim Ki Duk (South Korea)

- Promise Me This - Emir Kusturica (born Sarajevo)

- Secret Sunshine - Lee Chang-dong (South Korea)

- 4 Luni, 3 Saptamini si 2 Zile (4 Months, 3 Weeks and 2 Days) - Cristian Mungiu (Romania)

- Tehilim - Raphael Nadjari (France)

- Stellet Licht (Silent Light) - Carlos Reygadas (Mexico)

- Persepolis - Marjane Satrapi/Vincent Paronnaud (Iran/France)

- Le Scaphandre et le Papillon (The Diving Bell and the Butterfly) - Julian Schnabel (U.S.)

- Import Export - Ulrich Seidl (Austria)

- "Alexandra" - Alexander Sokurov (Russia)

- Death Proof - Quentin Tarantino (U.S.)

- The Man from London - Bela Tarr (Hungary)

- Paranoid Park - Gus Van Sant (U.S.)

- Izgnanie (The Banishment) - Andrei Zvyagintsev (Russia)


The ones in bold won awards (with the underlined film taking the top honor).

This is not just minor news. Tarantino has been the "darling of the Croisette" since PULP FICTION (1994). It's a flat-out rejection of its enfant terrible is akin to a father prison-shanking his son.
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Tsotha-lanti
PostPosted: Tue May 29, 2007 7:06 am  Reply with quote



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Also... why does every attempt at a comeback Kurt Russell does fail? It seems like he's consistently picked bad mainstream projects the last ten or more decades. Neutral
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Sonny
PostPosted: Thu May 31, 2007 8:23 am  Reply with quote



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Russell was the only thing I liked about Deathproof! I actually cringe when I hear Tarantino say there's added footage...I can't help but think it's 15 more minutes of women talking about crap I don't care about at all. I want to listen to girl talk I'll go to the mall.

I'm just kidding actually, it just wasn't interesting, just seems like the dialouge was missing the kind of punchlines his other movies had (I don't know, I didn't go into Burger King)...when Jules was talking about massaging a womans feet in Pulp Fiction...it's relatable...here's these movie hitmen talking about something everyone has done at one point or another...but the girls in Deathproof...I just didn't dig it. They seemed like cliches...especially the black woman...I was cringing at some of her stuff, it just seemed so damn stereotypical.

I didn't even think the stunts were that spectacular.

I'm still a fan of QT, I don't HATE Deathproof, just think he missed the mark pretty bad.
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Tsotha-lanti
PostPosted: Thu May 31, 2007 8:45 am  Reply with quote



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A couple of days ago I actually found the Death Proof car chase on YouTube. It was pretty entertaining, but if Quentin wanted to create one of the top 3 car chases of all time (as I believe he said) he failed. I won't rank it above the first 10 minutes of Mad Max, that's for certain.
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Chainsaw
PostPosted: Sun Jun 03, 2007 11:33 pm  Reply with quote



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Tsotha-lanti wrote:
Also... why does every attempt at a comeback Kurt Russell does fail? It seems like he's consistently picked bad mainstream projects the last ten or more decades. Neutral


I'm of the mindset that Kurt Russell doesn't need a comeback. He's great in anything that he's in, and that way, he can't squander it like like John Travolta did.
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Bone Daddy
PostPosted: Mon Jun 04, 2007 3:14 am  Reply with quote



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Chainsaw wrote:
Tsotha-lanti wrote:
Also... why does every attempt at a comeback Kurt Russell does fail? It seems like he's consistently picked bad mainstream projects the last ten or more decades. Neutral


I'm of the mindset that Kurt Russell doesn't need a comeback. He's great in anything that he's in, and that way, he can't squander it like like John Travolta did.



I agree. I actually liked Deathproof. Sure, it a gabfest, probably should not have been in a film called Grindhouse, but it works well. If it was a stand alone entry, I think folks would go easier on it.
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X-Count
PostPosted: Mon Jun 04, 2007 6:17 am  Reply with quote



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Bone Daddy wrote:
Chainsaw wrote:
Tsotha-lanti wrote:
Also... why does every attempt at a comeback Kurt Russell does fail? It seems like he's consistently picked bad mainstream projects the last ten or more decades. Neutral


I'm of the mindset that Kurt Russell doesn't need a comeback. He's great in anything that he's in, and that way, he can't squander it like like John Travolta did.



I agree. I actually liked Deathproof. Sure, it a gabfest, probably should not have been in a film called Grindhouse, but it works well. If it was a stand alone entry, I think folks would go easier on it.


Nope sir! I would still fucking hate it.
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Tsotha-lanti
PostPosted: Mon Jun 04, 2007 9:08 pm  Reply with quote



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Hmm. Apparently, with one or two exceptions the Canned Cut is getting glowing reviews here in Denmark... I suspect it has something to do with all the art house cred Tarantino has. (would House of the Dead have gotten similar rave reviews if it had Werner Herzog's name on it?)

One of the reviews, this one to be exact (dunno if any of you non-Danes will understand a word of it), definitely praises it for the same reason Foy disliked it: It's an arthouse version of a grindhouse movie that probably would have emptied a real grindhouse.

I myself am just waiting for Planet Terror.
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Bone Daddy
PostPosted: Tue Jun 05, 2007 12:03 am  Reply with quote



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X-Count wrote:
Bone Daddy wrote:
Chainsaw wrote:
Tsotha-lanti wrote:
Also... why does every attempt at a comeback Kurt Russell does fail? It seems like he's consistently picked bad mainstream projects the last ten or more decades. Neutral


I'm of the mindset that Kurt Russell doesn't need a comeback. He's great in anything that he's in, and that way, he can't squander it like like John Travolta did.



I agree. I actually liked Deathproof. Sure, it a gabfest, probably should not have been in a film called Grindhouse, but it works well. If it was a stand alone entry, I think folks would go easier on it.


Nope sir! I would still fucking hate it.



OK! To each their own!
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pondo sinatra
PostPosted: Tue Jun 05, 2007 8:53 am  Reply with quote



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Tsotha-lanti wrote:
(would House of the Dead have gotten similar rave reviews if it had Werner Herzog's name on it?)


Yes. However, a Herzog zombie film would be interesting....

Quote:
One of the reviews, this one to be exact (dunno if any of you non-Danes will understand a word of it), definitely praises it for the same reason Foy disliked it: It's an arthouse version of a grindhouse movie that probably would have emptied a real grindhouse.


A.) I bet the reviewer cocksucker never spent time in a real grindhouse theater.

B.) They basically claimed (via your description) that the film is so bad, intentionally so, that it's a brilliant piece of shit because it/s supposedly (the author's assertion, clearly not Cap'n Crunch's) intentionally shitty.

It's a weird rationalization of the obvious: the film sucked and the critic really thought so, but they will fabricate any excuse for Cap'n Crunch because he's Cap'n Crunch. They're afraid of the other kdis in the "School" bullying them for not towing the line.

That's like saying, "Oh, O. J. Simpson, you're a murderer but since you're Orenthal James Simpson I'll let it slide."

The same, smug, condescending cocksuckers who spit on the films that played grindhouses are the very ones who embrace this flaming insult to the history of one of American cinema's wonderfully ecentric phenomenons.

In simple terms: It's like praising Vanilla Ice and dissing the rest of hip hop's forefathers back in the day...

Quentin Tarantino = the Vanilla Ice of exploitation.

Lee Frost took shits that had more genuine love of cinema than Quentin "cinema rapist" Tarantino.
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Tsotha-lanti
PostPosted: Tue Jun 05, 2007 10:43 am  Reply with quote



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pondo sinatra wrote:
Tsotha-lanti wrote:
(would House of the Dead have gotten similar rave reviews if it had Werner Herzog's name on it?)


Yes. However, a Herzog zombie film would be interesting....


I'm actually surprised that Herzog hasn't gone quality-wise down the drain the same way QT has - though Herzog is nowhere the jackass QT is (I haven't heard of Herzog starting fights in public, for example), he also seems prone to hubris and overblown vanity projects, as the entire production history of Fitzcarraldo displays.

The crucial difference is probably that Herzog is much more of an "outsider filmmaker" than QT ever was - he certainly never tries to be hip and with it. He doesn't even, for that matter, try that hard to be artsy. Hell, I'd even say that Herzog deserves the term "outsider filmmaker" more than Lloyd Kaufman.

Now... to stay on track: What would Death Proof look like, had it been a Herzog film? The dreaded dialogue would have been completely ad-libbed by the actresses, that's for certain. There probably wouldn't be a single reference to other films either.

Quote:
B.) They basically claimed (via your description) that the film is so bad, intentionally so, that it's a brilliant piece of shit because it/s supposedly (the author's assertion, clearly not Cap'n Crunch's) intentionally shitty.


Definitely not - it said that Death Proof is at heart an art film whose similarities to exploitation are superficial at best. The reviewer has clearly seen enough exploitation films to know that Death Proof isn't one of them.

Quote:
The same, smug, condescending cocksuckers who spit on the films that played grindhouses are the very ones who embrace this flaming insult to the history of one of American cinema's wonderfully ecentric phenomenons.

In simple terms: It's like praising Vanilla Ice and dissing the rest of hip hop's forefathers back in the day...


... or to use a metal analogy: Death Proof is to Oldboy what The Sword is to The Lord Weird Slough Feg.
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pondo sinatra
PostPosted: Tue Jun 05, 2007 9:00 pm  Reply with quote



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Tsotha-lanti wrote:



Now... to stay on track: What would Death Proof look like, had it been a Herzog film? The dreaded dialogue would have been completely ad-libbed by the actresses, that's for certain. There probably wouldn't be a single reference to other films either.


A.) It wouldn't have sucked.
B.) Every character would have been an individual ,rather than 220 people wh otalk alike, act alike, sometimes look alike...
C.) Chicks wouldn't be talking like Chicks With Dicks.
D.) The dialogue would be breif since I don't imagine anyone beyond Rosario Dawson would have anything to actually say, and even then, she'd probably just talk a lot of shit anyway.
E.) The final chase would have lasted five minutes.
F.) There wouldn't be 90 minute monologues about how The Who sucks.

Quote:

Definitely not - it said that Death Proof is at heart an art film whose similarities to exploitation are superficial at best.


Just as pretentious.
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thedudeabides
PostPosted: Tue Jun 05, 2007 9:20 pm  Reply with quote
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I think the real reason I wanted the chicks to die was because they didn't like The Who. Laughing
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