"GRINDHOUSE," TAKE 3
Yeah, I caught "Grindhouse" a third time (with a friend who wanted to go).
So, considering that Movie Boy and other in-the-know types are predicting that this is the final weekend for "Grindhouse," I can hold my head high that I supported this thing at the box office.
People have complained that "Grindhouse" is too long, or that Quentin Tarantino's segment is too "Tarantino-y," and not "grindhouse-y," enough. Both arguments are probably valid.
Truthfully, Tarantino's segement breaks the rules of "Grindhouse." Robert Rodriguez and his fellow fake-trailer directors -- Eli Roth (‘‘Thanksgiving"), Rob Zombie ("Werewolf Women of the SS") and Edgar Wright ("Don't")-- keep it real with their homages to '70s and '80s grade-Z schlock. Then Tarantino takes over and delivers what we've come to recognize as a Tarantino film (to say a "typical" Tarantino film would not be fair), with only a few film scratches and jump cuts to link it to the whole. And, of course, the car-crash/girl-gang/vintage-music thing, which would not be out of place in ANY Tarantino movie.
I ain't complainin', though. I could listen to those girls talk forever (especially the second group: Tracie Thoms, Zoe Bell, Rosario Dawson and Mary Elizabeth Winstead). I marvel at their long dialogue scene captured in one shot.
I had no new revelations on Viewing 3 except to add that Michael Parks is the MAN.
So, considering that Movie Boy and other in-the-know types are predicting that this is the final weekend for "Grindhouse," I can hold my head high that I supported this thing at the box office.
People have complained that "Grindhouse" is too long, or that Quentin Tarantino's segment is too "Tarantino-y," and not "grindhouse-y," enough. Both arguments are probably valid.
Truthfully, Tarantino's segement breaks the rules of "Grindhouse." Robert Rodriguez and his fellow fake-trailer directors -- Eli Roth (‘‘Thanksgiving"), Rob Zombie ("Werewolf Women of the SS") and Edgar Wright ("Don't")-- keep it real with their homages to '70s and '80s grade-Z schlock. Then Tarantino takes over and delivers what we've come to recognize as a Tarantino film (to say a "typical" Tarantino film would not be fair), with only a few film scratches and jump cuts to link it to the whole. And, of course, the car-crash/girl-gang/vintage-music thing, which would not be out of place in ANY Tarantino movie.
I ain't complainin', though. I could listen to those girls talk forever (especially the second group: Tracie Thoms, Zoe Bell, Rosario Dawson and Mary Elizabeth Winstead). I marvel at their long dialogue scene captured in one shot.
I had no new revelations on Viewing 3 except to add that Michael Parks is the MAN.
posted by Mark Voger at 3:59 PM
2 Comments:
You went a third time and you didn't call me? It is such a pity that Grindhouse hasnt been seen by more people. and downright disheartening that after mismarketing it the Weinsteins point the finger at the artistic vision of the directors. I'm certainly not in the typical demographic for this film but I loved it. I favored "Deathproof." Kurt Russell brought complexity to Stuntman Mike, Zoe Bell brought pure exhileration and the dialogue between chicks was dead on.
xoxo,
Bride of Movieboy
Here, here.
It was your man Movie Boy who explained the four phases of Kurt Russell's performance to me:
1.) First, he's a old loner slurping on nachos and talking about actors and TV shows none of the cool young girls ever heard of.
2.) Then he's a seducer, reading a Robert Frost poem in a silky voice and (probably) winning a lap dance in the bargain.
3.) Then he's a homicidal maniac. ('Nuff said.)
4.) Finally, he's a screaming wussy.
I don't think Mickey Roarke could have pulled it off.
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