More Than Just Blood and Gore: A Feat in Juxtaposition.

Rating: 10/10 (8 April 2007)

The names of Robert Rodriguez and Quentin Tarantino are often thrown around like they're the same person. Despite the fact that they have collaborated more than once before this film, the discerning film-goer can tell the difference between the two. "Grindhouse" only solidifies the distinct strengths and weaknesses of both directors. Thankfully, most of the weaknesses will only be analyzed by those who know nothing about film-making or a good time.
You know you're in for something different when you see an old reel that misspells the word "previews" (pretty badly: "prevues"). Then you see that Hispanic gentleman whom you probably don't know the name of (don't look it up now; it's more fun if you never know his name). You're watching the trailer for "Machete," a racially-charged action preview complete with a religious man wielding firearms.
Of course, shortly thereafter you see the title screen: the word "Grindhouse" trails off the screen with a mighty close-up, almost suffocating the viewer.
Then "Planet Terror" starts. And there's nothing terrible about its opening scene in which Rose McGowan dances like she would pleasure you and your dad if you would only let her. The rest of the film takes the more violent approach, presenting some of the most disgusting and unneeded gore in recent memory. Of course, the effect is usually comical. But the action's nothing to laugh at. Rodriguez rivals the best work of John Woo frequently with "Terror." The dialogue and acting are both ridiculous and likable. I'm just glad Michael Biehn is back for no good reason (which is the best reason in this case).
Next, the trio of mock trailers ensue. Rob Zombie's trailer suffers more than the rest, focusing too much on the Nazis and not enough on the female werewolves--how's that for a weird complaint? "Don't," directed with tongue-through-the-cheek by Edgar Wright, is playful and a welcome oddity in that it uses more wit than gore. Yet the prize for best mock trailer should go to Eli Roth for his utterly reprehensible and darkly funny "Thanksgiving." To say more would spoil the turkey.
Finally, "Death Proof" wheels in to give the audience something it didn't expect. First, a few critics on this site and others have suggested that Tarantino's film is boring, pointless, and pretentious. To entertain the argument, let's assume the dialogue and acting really are substandard throughout Tarantino's film. It wouldn't matter. The direction is technically and aesthetically superb. The viewer not only sees the inner workings of a jukebox as the songs change in a bar scene; he/she also witnesses a car crash that replays from multiple angles. Some might say that is pretentious, while in actuality it is there to show how each individual in the car met her demise--ironically excessive to illustrate a point. Another example of brilliance is the extraordinarily long take of four characters talking at a table. The effect brings a realistic element to the scene, while reinforcing the point that Stuntman Mike is watching the women as they speak.
Kurt Russell brings a lot of vibrance to "Death Proof," bearing a strong screen presence reminiscent of David Carradine in "Kill Bill Vol. 2." His role is not stagnant but ever-changing. Throw in some unbelievable stunts by Zoe Bell during the final car chase, and you have a certified action classic.
And by the way, the dialogue of "Death Proof" serves as a way to halt the action and set up the viewer for the kill, as Tarantino's dialogue has always behaved. It is not like Kevin Smith's dialogue in any way, as some have implied. To say otherwise is lunacy and a failure to recognize how Tarantino has worked since the beginning. Overall, most critics of this film seem like they wanted "Death Proof" to be predictable and the same as Rodriguez's "Planet Terror."
To conclude, "Grindhouse," more than anything, is a showcase for the distinct film-making styles of Rodriguez and Tarantino. I have heard about the plans for this film to be released in separate parts outside of the United States. That is a shame. "Grindhouse" works better as a whole. It's like if Nathaniel Hawthorne and Edgar Allen Poe had created complementary yet contrasting short stories. The greatness of certain artists is often better realized when the works of each are side-by-side.