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Grindhouse (2007)

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Grindhouse (click for larger image)Starring Rose McGowan, Freddy Rodríguez, Josh Brolin, Michael Biehn, Tom Savini, Bruce Willis, Kurt Russell, Mary Elizabeth Winstead, Danny Trejo, Bill Moseley, Rosario Dawson, Marley Shelton, Jeff Fahey

Directed by Robert Rodriguez (“Planet Terror and fake trailer segment “Machete”), Eli Roth (fake trailer segment “Thanksgiving”) Edgar Wright (fake trailer segment “Don’t”), Rob Zombie (fake trailer segment “Werewolf Women of the S.S.”), Quentin Tarantino (segment “Death Proof”)


Evil hitchhikers … teenage werewolves … Samurai cannibals … ventriloquist dolls … You won’t find a single one of these things in Grindhouse, and that in and of itself is a wonderful thing. After months of insufferable cinematic garbage, the hyped Rodriguez/Tarantino machine has burst forth like a mighty serpent to rain down fiery baptism on all the sinners. So how does it measure up?

For the uninitiated (why are you even reading this site?), Grindhouse harkens back to the era of B-movie theaters famous for cranking out exploitation double-bills in the 1970’s. The prints were battered, the chairs hurt your ass, and the interiors were cleaned maybe twice a year, but you would consistently get your money’s worth in over-the-top sleaze and splatter. Today many of us relive the good ol’ days each month at the Grindhouse Film Festival in Los Angeles (co-helmed by Tarantino himself), and this is the ultimate attempt to bring that experience to the masses.

The first and best half of this 3-hour double bill is Robert Rodriguez’s Planet Terror, a gore-drenched zombie love-fest that gets the ball rolling in a big way. If you’ve seen the trailer, you already know the full story: An engineered virus escapes into a small town (these things tend to happen) and turns unlucky souls into bloated walking corpses. Things go to hell pretty fast, so it’s up to a small band of survivors – comprised mostly of criminals, lawmen, doctors, and strippers – to survive the horde, battle the military, and save the day. In other words, take From Dusk Till Dawn, mix in some old school Peter Jackson, and hit frappé.

Grindhouse (click for larger image)This is a film that moves like a nitro-fueled bus of flaming nuns at the Indy 500! Not a single dull moment is to be found as we watch a dream cast of character actors – each with their own deadly talent – stumble from one jaw-dropping set-piece to the next, wasting virtually everything and everyone in their path. From relative newcomers Freddy Rodriguez and Marley Shelton to hardcore genre vets like Michael Biehn and Jeff Fahey, this ensemble is one of the most memorable you’ll ever see in a genre film. Robert Rodriguez shows off his flare for blowing up everything in sight, throws red stuff in all directions, and even invents new (and truly sick) bodily functions for the undead. Set to a perfect John Carpenter-esque score, Planet Terror is a masterpiece of excess and sets the bar high (probably too high) for what follows.

What was the best part about going to these double features? The trailers, of course, and Grindhouse has a whole slate of fake movie previews to complete the experience. Featuring Danny Trejo and Cheech Marin, Rodriguez’s “Machete” tackles the vigilante movie with gusto and immediately makes one salivate for a feature. Rob Zombie tries his hand at Ilsa territory with “Werewolf Women of the SS” with the help of an all-star cast, but it feels too jokey and half-baked compared to the rest. If this were a retro contest, then Eli Roth would win hands down for “Thanksgiving,” a brilliant nod to holiday-themed slashers that looks like it was pulled directly from an old Vestron video tape. But the best of the bunch is Edgar Wright’s brilliant nod to supernatural British horror movies, “Don’t,” which may be the funniest thing he’s ever produced.

Finally, we come to Quentin Tarantino’s Death Proof, an homage to old school car chase flicks like Vanishing Point and the original Gone in 60 Seconds (both of which are discussed at length in one of many, many dialogue scenes) with a little slasher vibe thrown in for good measure. The centerpiece of the road rage is homicidal Stuntman Mike (played to perfection by Kurt Russell), who stalks two different sets of hotties around in his insidious stunt-rigged car. The old-fashioned ads declare this one “a white-hot juggernaut at 200 miles per hour,” but for most of its running time Death Proof barely breaks the speed limit. Aside from a few inspired moments of brutality, we’re treated to endless scenes of girl-talk as would-be victims B.S. about sex, work, and ultra-obscure grindhouse films (*sigh*) until this literally becomes a movie about people chatting. Following on the heels of Rodriguez and the faux trailers, it’s nothing but a come down from the previous high.

Grindhouse (click for larger image)Now it may seem ridiculous to criticize a Tarantino movie for being too talky. His characters are verbal kaleidoscopes who exist to babble. But in Death Proof every bit of dialogue feels overlong and completely self-indulgent to the point where Tarantino seems to be imitating himself rather than grindhouse movies. It’s hard to believe this is coming from the same guy who so perfectly captured the era just a few short years ago when he made Kill Bill. Ever the actor’s director, Tarantino is obviously focused more on performances than actual content, which explains why a stylist like Rodriguez feels more at home in this territory. Death Proof’s cast of vixens are drop-dead gorgeous and act well enough, but as characters, they’re also interchangeable. The stand-out is, of course, Russell, who remains a raging pillar of badassary; but even then he feels underused and strings this aimless script along by a thread.

Only in the last twenty minutes does Tarantino finally grasp what kind of movie he’s making when he delivers a spectacular car chase that would stun George Miller himself. Showcasing the power of practical stunts, the film dispenses with the CGI and over-editing that has all but ruined modern action movies, allowing cute actress/stuntwoman Zoe Bell to perform some of the most amazing spectacles in recent memory. With a bargain-basement style closing shot that’s nothing short of brilliant, the final act of Death Proof ultimately sends Grindhouse out on a high note, but it’s one helluva bumpy ride getting there.

Overall, the whole experience is like going from a back alley of crack-whores to a high-class brothel in Amsterdam: It just feels nice to get more bang for your buck. It may be radically uneven, but Grindhouse still gets the job done, and in an ideal world we’d get one of these double-bills every year.

Latest Grindhouse News:
==>Behind the Grind
==>Grindhouse Too Hard for R?
==>Machete Comes Home?
==>Making The S.S. Sexy
==>Grindhouse Split Outside the U.S.
==>More Grindhouse News

Planet Terror:

4 1/2 out of 5

Death Proof:

3 out of 5

Trailers:

4 1/2 out of 5

Overall:

4 out of 5

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Before We Vanish Review – A Quirky and Original Take on Alien Invasions

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Starring Masami Nagasawa, Ryûhei Matsuda, Hiroki Hasegawa

Written by Kiyoshi Kurosawa

Directed by Kiyoshi Kurosawa


During the J-horror rampage of the late 90’s and early 2000’s, Kiyoshi Kurosawa’s Kairo (aka Pulse). A dark, depressing, and morose tale of ghosts that use the internet to spread across the world, the film’s almost suffocatingly gloomy atmosphere pervaded across every frame of the film. Because of my love of this film, I was eager to see the director’s upcoming movie Sanpo Suru Shinryakusha (aka Before We Vanish), which follows three aliens who recently arrived on Earth and are preparing to bring about an alien invasion that will wipe humanity from the face of the planet. Imagine my surprise when the film turned out to be barely a horror title but was instead a quirky and surreal dramedy that tugged at my heartstrings.

Admittedly, I was thrown completely for a loop as the film begins with a scene that feels perfectly at home in a horror film. Akira (Tsunematsu), a teenage girl, goes home and we enter moments later to blood splashed on the walls and floor and bodies strewn about. However, the disturbing visuals are spun around as the young girl walks down a highway, her clothes and face streaked with blood, Yusuke Hayashi’s music taking on a lighthearted, almost jaunty attitude. From there, we learn of the other two aliens (yes, she’s an alien and it’s not a secret or a twist, so no spoilers there): Amano (Takasugi), who is a young man that convinces a sleazy reporter, Sakurai (Hasegawa), of his true form and tasks Sakurai with being his guide, and Shinji (Matsuda), the estranged husband of Narumi (Nagasawa).

What sets these aliens, and their mission, apart from other invasion thrillers is their means of gathering information. They’re not interested in meeting leaders nor do they capture people for nefarious experimentations. Rather, they steal “concepts” from the minds of people, such as “family”, “possession”, or “pest”. Once these concepts are taken, the victim no longer has that value in their mind, freed from its constraints.

While this may seem like a form of brainwashing, Kurosawa instead plays with the idea that maybe knowing too much is what holds us back from true happiness. A man obsessed with staking claim to his family home learns to see the world outside of its walls when “possession” is no longer a part of his life. A touchy boss enters a state of child-like glee after “work” has been taken. That being said, there are other victims who are left as little more than husks.

Overly long at 130 minutes, the film does take its time showing the differences between the aliens and their individual behaviors. Amano and Akira are casually ruthless, willing to do whatever it takes to send a beacon to begin the alien invasion, no matter how many must die along the way, while Shinji is the curious and almost open-minded one, whose personal journey finds him at one point asking a priest to envision and describe “love”, a concept that is so individualistic and personal that it can’t be taken, much less fathomed, by this alien being. While many of these scenes are necessary, they could have easily been edited down to shave 10-15 minutes, making the film flow a bit more smoothly.

While the film begins on a dark note, there is a scene in the third act that is so pure and moving that tears immediately filled my eyes and I choked up a little. It’s a moment of both sacrifice and understanding, one that brings a recurring thread in the story full circle.

With every passing minute, Before We Vanish makes it clear that it’s much more horror-adjacent than horror. An alien invasion thriller with ultimate stakes, it will certainly have appeal to genre fans. That being said, those who go in expecting action, violence, and terror will certainly be disappointed. But those whose mind is a bit more open to a wider range of possibilities will find a delightful story that attempts to find out what it means to be human, even if we have to learn the lesson from an alien.

  • Before We Vanish
4.0

Summary

Before We Vanish is a beautiful, wonderful tale that explores what it means to be human when faced with the threat of extinction.

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Delirium Review – Bros, Cameras And A Whole Lotta Shakin’ Goin On

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Starring Mike C. Manning, Griffin Freeman, Ryan Pinkston

Directed by Johnny Martin


When will these testosterone-overloaded frat bros with cameras ever learn that pissing off the evil souls of the departed all in the name of amusement won’t get you anywhere but wrecked? Same goes for filmmakers: when will they learn that found-footage exploits set in a house of pure sadism are something of a wrung-out affectation? Oh well, as long as people keep renting them, they’ll continue to get manufactured…which might or might not be to the benefit of the horror film-watching populous.

Delirium opens with a poor lad, strapped with a GoPro, running for his life through a labyrinth of haunted territory, praying for an escape…and it’s a foregone conclusion as to what happens to this trespassing individual. We then relocate our focus towards a collection of (ahem), “gentlemen” self-titled as The Hell Gang, and their escapades are about as profound as their grasp on the English language and its verbiage. The words “dude”, creepy”, and the term “what the fuck” are thrown about so much in this movie it’ll make your head spin to the point of regurgitation. Anyway, their interest in the home of the Brandt clan is more piqued now than ever, especially considering one of their own has gone missing, and they’ve apparently got the gonads to load up the cameras, and traverse the property after-hours, and against the warnings of the local law-enforcement, who surprisingly are just inadequate enough to ignore a dangerous situation. The cursed family and the residence has quite the illustrious and bleak history, and it’s ripe for these pseudo-snoopers to poke around in.

Usually I’m curb-stomping these first person POV movies until there’s nothing left but a mash of blood, snot and hair left on the cement, but Martin’s direction takes the “footage” a little bit outside of the box, with steadier shots (sometimes) and a bit more focus on the characters as they go about their business. Also, there are a few genuinely spooky scenes to speak of involving the possession of bodies, but there really isn’t much more to crow about, as the plot’s basically a retread of many films before it, and with this collection of borderline-douches manning the recording equipment, it’s a sad state of affairs we’re in that something such as this has crept its way towards us all again. I’m always down for jumping into a cold grave, especially when there could be a sweet prize to be dug up in all that dirt, but Delirium was one of those movies that never let you find your footing, even after you’ve clawed your way through all of the funereal sediment – take a hard pass on this one.

 

  • Film
2.0

Summary

Got about a half-dozen bros with cameras and a wanton will to get slaughtered on camera, all the while repetitively uttering the same phrases all damn day long? Then my friends, you’ve got yourself a horror movie!

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Godzilla: Planet of the Monsters Review – A Timid Step Towards a Frightening Possibility

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Starring Mamoru Miyano, Takahiro Sakurai, Kana Hanazawa, Yuki Kaji, Tomokazu Sugita

Directed by Kobun Shizuno and Hiroyuki Seshita


The Godzilla series is the longest-running franchise in cinema history. With over 30 films over a 60+ year career, the famous kaiju has appeared in video games, comic books, TV shows, and more, cementing its place as one of the most recognizable cultural icons in the past 100 years. With Godzilla: Planet of the Monsters, the titular beast makes its foray into the world of anime in this first film in a proposed trilogy. While there are moments that are genuinely thrilling, the film unfortunately fails to capture the imagination and wonder that is at its fingertips.

The story is quite simple: Earth is under attack by swarms of various kaiju who are wreaking havoc across the planet. Entire cities are being destroyed when Godzilla appears to vanquish humanity’s foes. Unfortunately, the King of the Monsters isn’t really there to help humans and its rampage continues until a race of alien beings arrive at Earth asking for a place to stay in exchange for defeating Godzilla. When they are unable to do that, the remaining humans board a giant spaceship to venture off into space in search of a new home only to come back some 20 years later, nearly 20,000 years later by Earth time (think Interstellar logic), to search for resources and, possibly, a planet that will welcome them once again. However, Godzilla is still around and isn’t keen on sharing.

The main character of the film is Haruo Sakaki, a young man who begins the film by nearly following through on a suicide bomber terrorist act that is meant to call attention to humanity’s loss of vision and failure to fulfill their mission of finding a suitable home for the remaining survivors. Even though he is accosted and jailed for this act, he is eventually freed when people realize that his lifelong passion of killing Godzilla is the foundation for research he’s done in finding a way to take down the creature…a plan that just might work. The other characters are so forgettable that I forgot their names during the film.

From there, the film essentially pivots into following a massive team of volunteers who land on Earth’s surface to lay a trap for Godzilla in order to destroy it. Since this is Earth 20,000 years after they left, the flora and fauna have evolved and changed so radically that the team have no idea what to expect or how to react, so caution is a must.

The problem with this is that while the characters have to be cautious, the film doesn’t nor should it. The movie has the chance to explore the wealth of imaginative opportunities at its fingertips and yet does almost everything it can to avoid doing just that. The color scheme is flat and uninteresting. The character movements lack smoothness and the action sequences fall victim to shaky cam syndrome. There are a few mentions of some of the changes that have taken place on the planet, such as razor sharp plants, but they’re so incidental or offhand that it feels like no one making the film has any interest in seeing anything other than man against beast.

Speaking of this dynamic, the action sequences are quite entertaining but also feel somewhat reserved. Godzilla barely moves and much of the destruction levied against the humans is seen from a distance, apart from an attack on a military outpost by dragon-like creatures. For nearly the entire film, I found myself thinking, “I’m okay with this but that’s about it.

The brightest moment in the film are the last few minutes and I won’t spoil what happens. Suffice it to say that it definitely has me interested in the second and third films but I really hope that this new world will be explored further in those entries. Otherwise, we’ve got a fascinating foundation that will be squandered.

  • Godzilla: Planet of the Monsters
2.0

Summary

Godzilla: Planet of the Monsters is a bland entry in a trilogy that has great potential. For a first course, there’s a distinct lack of flavor or complexity. The final minutes are the only saving grace and I hope that the second and third films make use of that grand wonder.

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