Spring Break
Grinding Down The House
Movie Review
Fernando Dutra
Issue date: 4/9/07 Section: Focus
After a batch of the previously mentioned trailers, Quentin Tarantino's "Death Proof" begins with a set of feet (Tarantino is rather infamous for his foot fetish), shifting from "Planet Terror's" high-octane energy for something more relaxed. In the grand scheme of the picture, "Death Proof" fuses slasher elements and car chases with mixed results. However, a majority of the film spends time on its two groups of female protagonists, each chatting about anything that comes to mind. Tarantino is known for his dialogue, and "Death Proof" is a throwback to films like "Jackie Brown" and "Pulp Fiction," with significant emphasis on pop culture references. In spite of this, most of the dialogue seems to putter and seems to be in place simply to extend the film's length and praise the likes of "Vanishing Point" and "White Line Fever," two films that "Death Proof" pays tribute to. While some of the dialogue is enjoyable, a majority is not, causing a lull in any plot development. Tarantino does the opposite of what Rodriguez did in "Planet Terror," choosing instead to focus on character development.
With a plot so deceptively simple, it might seem like this emphasis on dialogue and idle conversation is necessary. In "Death Proof," an excellently vile Kurt Russell as Stuntman Mike stalks two different groups of females, intent on killing them with his "death proof" stunt car. Russell steals every scene he's in, salvaging the film from crashing and burning too early. Without revealing too much, Stuntman Mike realizes his mistake while stalking the second pair of females, which climaxes in an astonishing car chase, which Tarantino swears was shot without special effects.
"Grindhouse" is successful in creating an atmosphere that exudes cheesiness and decadence at the same time. Both films draw from each other, with characters overlapping or actors and actresses being shared. "Grindhouse" is a deal for the price of one admission ticket - two nostalgic films interspersed with desultory trailers running at a little over three hours and apologies from the management.
With a plot so deceptively simple, it might seem like this emphasis on dialogue and idle conversation is necessary. In "Death Proof," an excellently vile Kurt Russell as Stuntman Mike stalks two different groups of females, intent on killing them with his "death proof" stunt car. Russell steals every scene he's in, salvaging the film from crashing and burning too early. Without revealing too much, Stuntman Mike realizes his mistake while stalking the second pair of females, which climaxes in an astonishing car chase, which Tarantino swears was shot without special effects.
"Grindhouse" is successful in creating an atmosphere that exudes cheesiness and decadence at the same time. Both films draw from each other, with characters overlapping or actors and actresses being shared. "Grindhouse" is a deal for the price of one admission ticket - two nostalgic films interspersed with desultory trailers running at a little over three hours and apologies from the management.
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