An Embarrassment

Rating: 1/10 (2 July 2002)

A promising beginning quickly gives way to shameful exploitation and excesses that are unworthy of the participants involved, and even the most adept rationalization will not excuse them from taking part in a project that is so blatantly devoid of anything even remotely close to possessing any redeeming aspects or qualities whatsoever. Screenwriter Quentin Tarantino and director Robert Rodriguez had apparently attained the kind of stature within the right kind of circles that gave them free reign going into the production of `From Dusk Till Dawn,' and the results are something akin to what happens when you turn a couple of undisciplined youngsters loose in a toy store and then refuse to hold them accountable for the mess they make. The thing is, the people involved here are artists, who collectively and individually, have proven themselves capable of achievements beyond the norm; and as an audience-- collectively and individually-- that is what we have come to expect from them. And that's not saying that every time out Tarantino has to give us a `Pulp Fiction,' or that Clooney or Keitel are expected to turn in an Academy Award worthy performance. But given their credentials, it is not out of line to expect them to deliver a product that includes at least some semblance of dignity, integrity and quality. And, unfortunately, none of the above are to be found anywhere in this `B-' schlock Rodriguez and Co. have fostered upon an unsuspecting public.
The degradations begin when the morally bankrupt Gecko brothers, Seth (George Clooney) and Richie (Tarantino), go on a spree of murder and robbery on their way to Mexico, where they're to meet up with a colleague who will provide them with a safe haven-- for a price, of course. Near the border, to facilitate their crossing, they kidnap a minister, Jacob Fuller (Harvey Keitel), and his children, Kate (Juliette Lewis) and Scott (Ernest Liu). Seth sees the motor home Jacob is driving as the perfect vehicle to get them to their destination, and the recently widowed Jacob-- who is currently struggling with his faith-- sees no choice but to go along with the demands of his captors. What Jacob cannot know, however, is that he will be taking them to a rendezvous that will deposit them all veritably at the gates of Hell.
In the opening scene, a Texas Ranger, Earl McGraw (Michael Parks), walks into a somewhat secluded liquor store where he has a conversation with the young clerk, during which they discuss the news of the Gecko brothers. Of course, Seth and Richie are already at hand, and the ensuing violence sets the stage for all that follows. And right up to the part at which the first shots are fired, courtesy of a riveting, if all too brief, performance by Parks (this is actually the film's best scene), it's actually a good beginning to a very bad movie. At this point, the film has had it's moment, and it's all downhill from there.
With this screenplay, Tarantino-- who made a name for himself (and rightly so) with `Pulp Fiction' and `Reservoir Dogs,'-- developed a blueprint for excessive (even for him) violence and moral abasement, then handed it over to Rodriguez, who took the ball and ran with it. Straight down into the ground. The characters and situations created in this film give a negative value to human life and propriety, even taken within the broadest cinematic terms of expression. And the use of advanced technology and F/X by Rodriguez toward such an end as this is contemptible. Totally without redeeming value, this film appeals to nothing more than the basest instincts of the infantile mind, and is an embarrassment to the craft of filmmaking.
If you bother to sift through the detritus of this visual and psychological malady, you will actually find a decent performance by Clooney, though given the context in which it exists, it will take an extremely objective eye to discern it at all. Seeking out a good performance here is like attempting to remedy the stench of a pig sty with a can of air freshener. And it's tough watching someone you admire as an artist wallow (and willingly yet) in such claptrap as this.
As far as the participation of Harvey Keitel in this, one can only wonder what could have prompted such a decision. In fact, one can speculate that Jacob Fuller's loss of faith occurred after he read this script.
The supporting cast includes Salma Hayek (Santanico Pandemonium), Cheech Marin (in three roles), Danny Trejo (Razor Charlie), Fred Williamson (Frost) and Kelly Preston (Newscaster Kelly Houge). A disaster that should never have been allowed to see the light of day, `From Dusk Till Dawn' will no doubt find it's own niche in the `cult film' Hall of Fame, and unfortunately there are those who will embrace this nonsense out-of-hand. If made by amateurs or an aspiring filmmaker who simply did not know better, the existence of this film would at least be understandable and acceptable within the context of those given terms and conditions. But with the names and talents of the likes of Tarantino, Clooney, Rodriguez, Keitel and Lewis attached, there is no excuse for it; no excuse whatsoever. In the final analysis, this is nothing more than a demonstration of the blatant misuse of the magic that is the movies. I rate this one 1/10.