Film Review: The World’s End (2013)

Release Date: July 10th, 2013 (London premiere)
Directed by: Edgar Wright
Written by: Simon Pegg, Edgar Wright
Music by: Steven Price
Cast: Simon Pegg, Nick Frost, Paddy Considine, Martin Freeman, Eddie Marsan, Rosamund Pike, Pierce Brosnan, Bill Nighy (voice), David Bradley, Darren Boyd, Michael Smiley, Sophie Evans, Rose Reynolds, Peter Serafinowicz (uncredited), Rafe Spall, Mark Heap, Nicholas Burns, Edgar Wright (voice, uncredited)

Relativity Media, Focus Features, Universal Pictures, 109 Minutes

Review:

“Hey it is our basic human right to be fuck ups. This civilization was founded on fuck ups and you know what? That makes me proud!” – Gary King

When I first saw this movie, I was fairly disappointed by it and I remember many others being as well. However, I think my initial assessment of it was faulty, as its actually not a bad film and after having nearly eight years to digest it and reflect on it, I thought that maybe I needed to give it another go, knowing what I was getting into this time.

So seeing it now was actually kind of refreshing. I had forgotten a great deal of the film and its story. Sure, I remembered the gist of it, as well as the ending but I hadn’t retained all of the context and nuance. And now that I’ve re-experienced it, I think that I just wasn’t in the right headspace or hadn’t experienced enough of life to find things in it that resonated so deeply in the way they do now.

The thing is, the power trio of Edgar Wright, Simon Pegg and Nick Frost are all about 5-10 years older than me. Well, seeing this somewhere within 5-10 years after its release, makes me roughly the same age that they were when they made it. Why’s that important? I’ll explain.

The main thing is that the film deals with guys approaching the midway point of life and thus, right at the age that the midlife crisis stage can begin in many males. Now that I’ve also reached this point, I can relate to how one character in particular is obsessed with the greatest night of his life, which came in his youth, and how his future then was a clean slate for him to do anything but now, years later, life hasn’t panned out as greatly as he had anticipated or hoped. I think everyone has these thoughts around 40 or so but some people can take it to the extreme.

Additionally, this same character, you find out late into the film, recently tried to commit suicide and was dealing with massive depression caused by the immense weight of his own disappointment in himself. Depression at that level is something I have dealt with for my entire life and I’ve had friends who were even worse off and have taken their lives. Two of them hit me really hard in the last few years. But having now lived through that in my own life makes the emotional parts of this film much more real and gut punching. Luckily, I’ve mostly overcome my issues in the last few years.

While I can sympathize with Simon Pegg’s Gary and understand his issue first hand, I feel like I more closely relate to Nick Frost’s Andy, as the guy who realizes the pain his best friend has been in and feels immense guilt for not being there for him. I think that’s something that all good people feel when they’ve lost a friend or a loved one to suicide.

Now mixed in with all that emotional stuff that I didn’t appreciate as deeply as I do now, we have the larger group of friends, who also have to try and work out their issues with each other. And then on top of that, we have a pub crawl marathon in a small quaint town that has seen its citizens replaced by manufactured shells controlled by a high-tech alien species who have been secretly invading and assimilating the planet for quite awhile.

So there’s a lot in this movie to take in but it’s really well-balanced between the real human drama and the really awesome sci-fi action plot. And frankly, the plot is pretty cool, as are the special effects and the solid soundtrack that may be Edgar Wright’s best in how he used it throughout the film to set the tone and to properly generate the right level of nostalgia.

Additionally, the acting in this is the best out of the three films in the Three Flavours Cornetto Trilogy. By this, the third film, these guys are just so perfect together and the surrounding cast is full of many people who have worked with these guys multiple times that they all just feel like an onscreen family. To put it simply, everyone has great chemistry but the bond between Pegg and Frost has never been stronger than it is here. I’d also say that this is Nick Frost’s greatest performance, as he actually was the more serious character for the first time and with that, had to help uplift his broken friend and become the real hero of the story.

Still, this is my least favorite film in the trilogy. But that’s like saying oral is your least favorite type of sex. In the end, it’s still really fucking good.

Rating: 8.25/10
Pairs well with: other Edgar Wright comedies, as well as his television show Spaced.

Film Review: Hot Fuzz (2007)

Also known as: Raging Fuzz, Blue Fury (working titles), Bubblin’ Fuzz, Dead Right, Feelin’ Fuzzier (fake working titles)
Release Date: February 13th, 2007 (London premiere)
Directed by: Edgar Wright
Written by: Edgar Wright, Simon Pegg
Music by: David Arnold
Cast: Simon Pegg, Nick Frost, Jim Broadbent, Paddy Considine, Timothy Dalton, Bill Nighy, Edward Woodward, Bill Bailey, Olivia Colman, Julia Deakin, Kevin Eldon, Martin Freeman, Paul Freeman, Rafe Spall, Stephen Merchant, Steve Coogan (uncredited), Peter Jackson (uncredited), Cate Blanchett (uncredited), Edgar Wright (uncredited), Garth Jennings (uncredited)

Working Title Films, StudioCanal, Universal Pictures, 121 Minutes

Review:

“I may not be a man of God, Reverend, but I know right and I know wrong and I have the good grace to know which is which.” – Nicholas Angel, “Oh, fuck off, grasshopper. [Reverend Shooter pulls out a pair of derringers from his cassock]” – Reverend Philip Shooter

The moment this movie finished in the theater, I had a massive smile on my face and it stuck with me for days. Once it was gone, I went back to the theater to go see this picture again.

This is still my favorite Edgar Wright movie and revisiting it now just solidified that. For what it is, it is pretty close to perfect.

It features Simon Pegg and Nick Frost at their absolute best, as a duo. After two seasons of the television show Spaced and 2004’s cult classic Shaun of the Dead, these two guys had evolved into a perfect pair, where each half compliments the other and together they make a much better whole.

That being said, if there was ever a film from Edgar Wright’s Three Flavours Cornetto Trilogy that deserved a sequel, it’s this one. I doubt it will get a sequel but it perfectly represents the buddy cop genre and those films are perfect for sequelization. Just look at Lethal Weapon, Bad Boys, Rush Hour, etc.

Anyway, this is just great from top-to-bottom. It has a stacked cast featuring several of my favorite British people, it has a solid, surprising story, superb action sequences and the sort of buddy cop camaraderie that you and your primary school homies used to try and emulate while playing cops on the playground.

Despite all the other great things Pegg and Frost have done, this feels like the roles they were born to play. And honestly, I almost feel the same way about Timothy Dalton in this, as he’s so damn good that he’s perfect.

Hot Fuzz is just a hilarious, balls out action flick. Once you get to the action packed finale, things escalate in ways you’d never expect and at the same time, this never jumps the shark. It just has the perfect balance of comedy, action and ridiculousness.

Not only is this my favorite of Wright’s films, it is also one of my favorite movies of its decade.

Rating: 9.25/10
Pairs well with: other Edgar Wright comedies, as well as his television show Spaced.

Film Review: Shaun of the Dead (2004)

Also known as: Tea-Time of the Dead (working title), Zombies Party – Uma Noite… de Morte (Portugal), Zombies Party – Una Noche… de Muerte (Spain)
Release Date: March 29th, 2004 (London premiere)
Directed by: Edgar Wright
Written by: Edgar Wright, Simon Pegg
Music by: Pete Woodhead, Daniel Mudford
Cast: Simon Pegg, Nick Frost, Kate Ashfield, Lucy Davis, Dylan Moran, Bill Nighy, Penelope Wilton, Jessica Stevenson, Peter Serafinowicz, Rafe Spall, Martin Freeman, Tamsin Greig, Matt Lucas, Julia Deakin, Michael Smiley (uncredited)

Working Title Films, StudioCanal, Rogue Pictures, Universal Pictures, 99 Minutes

Review:

“As Mr. Sloan always says, there is no “I” in team, but there is an “I” in pie. And there’s an “I” in meat pie. Anagram of meat is team… I don’t know what he’s talking about.” – Shaun

The first time that I watched Shaun of the Dead, I knew that it would not only be a cult classic, right out of the gate, but I knew it would go down as a comedy classic and one of the best of its era. I wasn’t wrong and it helped Edgar Wright, Simon Pegg and Nick Frost carve out really nice careers for themselves.

It also kicked off the Three Flavours Cornetto Trilogy, which included 2007’s Hot Fuzz and 2013’s The World’s End.

Out of those three films, this one sits in the middle for me, as I like Hot Fuzz more and thought that The World’s End was fairly underwhelming.

This movie is pretty simple and straightforward, though. It also came out before zombie movies and television shows really blew up and became oversaturated in entertainment. So when I saw this for the first time in 2004, it was pretty unique and immediately became one of my favorite horror comedies.

There have been a lot of horror comedies since, especially in the zombie subgenre. But this and the original Return of the Living Dead are the only two I’d consider true classics.

The cast in this had great chemistry but most of them are good friends and had worked together previously in the TV shows Spaced and Black Books.

Shaun of the Dead also feels like a natural extension of Spaced, even though it features familiar actors in different roles. The style of the comedy, the two main characters’ camaraderie and the film’s general tone match up with Spaced, though. That also probably has to do with Edgar Wright helming both.

The story sees a lovable and well-meaning loser have to step up to the plate when the zombie apocalypse kicks off in London. He needs to win back his girlfriend, save his mum and his friends and try to survive the undead outbreak with a pint in his hand.

This doesn’t need a complicated story and it’s better that it’s simple and allows the characters the time to develop and win you over. It’s funny though, as this was the first time I saw Dylan Moran and by the end, I thought he was the biggest prick in the world. And he was, in this film, but he’d actually become one of my favorite comedians and comedic actors after seeing a lot of his standup, as well as his roles in Black Books and a slew of other appearances over the years.

Shaun of the Dead was my introduction to a lot of actors I’ve grown to love over the years. Kate Ashfield, the female lead, is actually the only person in this who I haven’t seen in anything else. Still, she’s really enjoyable in this and added a lot to this group’s dynamic.

I’m glad that I revisited this again, as it’s been so long since I’ve watched any of the movies in this trilogy or Spaced. But after seeing this, I’m going to work through them all again for future reviews.

Rating: 8.5/10
Pairs well with: other Edgar Wright comedies, as well as his television show Spaced.

Film Review: The Big Short (2015)

Release Date: November 12th, 2015 (AFI Fest)
Directed by: Adam McKay
Written by: Charles Randolph, Adam McKay
Based on: The Big Short by Michael Lewis
Music by: Nicholas Britell
Cast: Christian Bale, Steve Carell, Ryan Gosling, Brad Pitt, John Magaro, Finn Wittrock, Hamish Linklater, Rafe Spall, Jeremy Strong, Marisa Tomei, Melissa Leo, Karen Gillan, Margot Robbie (cameo), Anthony Bourdain (cameo), Selena Gomez (cameo)

New Regency Productions, Plan B Entertainment, Paramount Pictures, 130 Minutes

Review:

“I don’t get it. Why are they confessing?” – Mark Baum, “They’re not confessing.” – Danny Moses, “They’re bragging.” – Porter Collins

I never saw The Big Short, even though I read the Michael Lewis book several years ago. I liked the book and thought that it did a good job of telling the stories about the real people who were important figures during the 2008 financial crisis caused by the housing bubble.

I guess I felt inspired to watch it because of the recent events surrounding WallStreetBets and their attempts at fucking over hedge funds. However, I’ve watched and reviewed several other finance industry movies over the last few months, so I figured I’d give this one a shot too. Plus, it has a stellar cast.

Oddly, I had no idea that this was directed by a guy that’s mostly just directed Will Ferrell comedies. The director, Adam McKay, did a pretty good job of transitioning to drama while also still having a bit of comedy added in. This is still a serious film, though, and it tackles the subject matter quite well.

My only real complaint about the film is the editing style and pacing. It often times felt sporadic and I felt like I was jolted around so much that I was losing my footing.

The acting is so good that I really wanted to focus on the performances, especially Steve Carell’s but the the quick, flashy edits often times pulled me out of the picture and the moment. I feel like it was hard to build the proper emotional connection to certain scenes because they kept overlapping scenes with one another.

Still, I did enjoy this and when you can actually zero in on specific performances, it was really entertaining, emotional and kind of impressive. Carell truly takes the cake in this, though, and I definitely felt closer to his character than any of the others, as he sort of represents what this film’s audience should feel about what these banksters were doing just to fatten their pockets at the expense of the average American.

I can’t see this as a classic like several of the other finance industry movies that I’ve recently reviewed but it’s still a good, enjoyable picture that maps out and explains the housing crisis well enough for the average Joe to understand while also entertaining its audience.

Rating: 7.5/10
Pairs well with: other finance industry thrillers like the Wall Street films, The Wolf of Wall Street and Boiler Room.

Film Review: Prometheus (2012)

Also known as: Alien 0 (working title)
Release Date: April 11th, 2012 (Paris premiere)
Directed by: Ridely Scott
Written by: Jon Spaihts, Damon Lindelof
Music by: Marc Streitenfeld
Cast: Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green, Charlize Theron, Benedict Wong, Sean Harris, Rafe Spall, Kate Dickie, Emun Elliot, Patrick Wilson, Ian Whyte, Daniel James

Dune Entertainment, Scott Free Productions, 20th Century Fox, 124 Minutes

Review:

“Big things have small beginnings.” – David

I remember initially liking this when it came out but the more I thought about it, processed everything that happened and then applied it all to my knowledge of the long running Alien franchise, it all started to fall apart.

I think what happened was that I was effected by the film in the same way that J. J. Abrams movies effect me, initially. I’m overloaded by a rapid pace, random shit happening so fast I can’t process it, constant information dumps and then  a big, over the top, action-filled finale that serves to be a gargantuan exclamation point on a big smorgasbord of “what the fuck?”

Ultimately, this movie doesn’t make any fucking sense. And that really fucking sucks because it has some really good things working for it that lose their effect because the human brain isn’t made to process bullshit, especially at the pace that the Micro Machines commercial dude could spout off a run-on sentence like this one.

Prometheus was probably my most anticipated film of 2012. I was ecstatic for it and I was sold on the trailers. But upon seeing it, something didn’t feel right, it’s like my brain was pre-programmed to love it and I didn’t want to feel what I was really feeling underneath it all: disappointment and confusion.

It’s a disjointed clusterfuck of a movie, poorly written with contrivances, conveniences, random weirdness and some horrendously bad dialogue that made me feel bad for the superbly talented cast that had to stumble throughout this picture.

For instance, the scene where Charlize Theron reveals that Guy Pearce is her father was absolute fucking cringe. How does that happen in a scene with just Charlize Theron and Guy Pearce? They’re fucking legends at this point!

Every development in this movie was nonsensical and contradictory to the personalities that were established for its characters. All the weird alien twists and turns didn’t add up and just created more questions than this film tried to answer.

In fact, even though this movie does clue you in to the origin of the alien xenomorph species (and the human race), it creates more questions, builds more mystery and turns what should have been a really simple and cool plot into something so damn messy that a team of mental hospital janitors on cocaine couldn’t keep up with the diarrhea spilling out on the floor from the writers’ asses.

What’s with the black goo? What’s with the alien cobras? What’s with the squid that turned massive in an hour? What’s with the weird looking xenomorph? Why did the Engineers on the holographic replay run into the room with the dangerous shit? How did David know what to do with any of this shit? Why did we need the Weyland side plot? Hell, why didn’t they just cast an old guy instead of forcing Guy Pearce into an old man mask from Spencer’s? What’s with the ginger chickenshit turning into a space zombie with a ballooned out head? Why did the Engineer ignore Elizabeth but then go way out of his way to track her down to kill her later? Why did the women run in the path of the giant ship rolling towards them and not cut left or right? After the ship took off, crashed and then rolled like a renegade tire, why was David laying in the same spot where he got his head ripped off? How did his head not pinball around the ship? Why the fuck did I watch this a second time?

Prometheus is incompetent. It’s so incompetent that it hurts and frankly, I don’t think I was initially suppressing these feelings and observations, I think that I was just overwhelmed by how much bullshit was forced down my throat that I couldn’t make sense out of any of it. I was hit in the brain with a sledgehammer nearly every five minutes for two hours straight. Frankly, it took seven years for me to collect my thoughts and give this picture a second viewing.

I thought that maybe I was overreacting and that maybe I missed some glue that held it all together. Nope, it’s still shit. And it absolutely fucking sucks because this shouldn’t have been a clusterfuck of biblical proportions. It should’ve set some things up easily and then followed the framework established by the original film. Hell, it could’ve followed the second film or even combined the two. This isn’t rocket surgery!

Anyway, when I saw Alien: Covenant, I initially thought that it was worse than this but it’s not. That’s still a shitty film for the most part but this thing takes the cake.

Prometheus is insulting. It believes that it is some great mystery and highly intelligent film. It isn’t. In fact, it actually feels like my fifteen year-old cousin’s fan fiction work for his blog that has seven followers after two years. I try and give the kid advice but he just goes, “Fuck off, boomer!” Whatever, I’m Gen-X, bitch and your shipping of Hicks and Bishop is just weird.

Rant over.

Rating: 4/10
Pairs well with: it’s direct sequel Alien: Covenant and the other Alien films other than the first two, which are far superior to anything else the franchise has done since.

Film Review: Jurassic World: Fallen Kingdom (2018)

Also known as: Jurassic Park 5 (Uruguay)
Release Date: May 21st, 2018 (Madrid premiere)
Directed by: J.A. Bayona
Written by: Derek Connolly, Colin Trevorrow
Based on: characters by Michael Crichton
Music by: Michael Giacchino
Cast: Chris Pratt, Bryce Dallas Howard, Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Toby Jones, Ted Levine, BD Wong, Isabella Sermon, Geraldine Chaplin, Jeff Goldblum, Peter Jason

Amblin Entertainment, Legendary Pictures, Perfect World Pictures, The Kennedy/Marshall Company, Universal Pictures, 128 Minutes

Review:

“Do these animals deserve the same protection given to other species? Or should they just be left to die?” – Senator Sherwood

I might be the only person on Earth that prefers this movie to its predecessor. But don’t worry, I’ll explain.

This was the first Jurassic Park/World movie that I didn’t see in the theater. The reason being was that the trailer didn’t do much for me. But that was a mistake on my part because we live in a world where trailers give away the entire movie and from what I saw, this looked like the same movie with just an exploding volcano added to it.

In reality and to my surprise, just about everything you see in the trailer solely covers the first act of the film. The last two-thirds of this picture went in a direction that I wasn’t expecting, it offered up a really interesting twist on the mythos and it actually turned into a haunted mansion movie where instead of ghosts, we get a man-made killing machine in the form of a dinosaur.

loved the third act of this picture, which saw our heroes stumble across a black market dinosaur auction in the secret, high tech basement of a secluded mansion. Plus, once the shit hits the fan, we get the little girl that lives in the house, hiding and trying to outwit the killer dinosaur that is just one cool looking monster.

The cinematography and the lighting in a lot of the third act sequences are reminiscent of classic horror. In the moment where the little girl is hiding in her bed with covers up to her eyes, you see the killer dino slither down the outer mansion wall, casting a silhouette across the glass and inside wall like a shot from Nosferatu or other German Expressionist horror films of the 1910s and 1920s. Once the dino gets inside, the moment where the shadow of his claw inches across the back wall while the girl shivers under her comforter is visually stunning and a real call back to the films of F.W. Murnau, Robert Wiene and Fritz Lang.

Jumping back to the black market auction sequence, I really liked this idea. It really kicks off something that the filmmakers talked about when the first film was coming out. They wanted the series to evolve into what happens when dinosaurs become a big business, how that can be corrupted and how it will effect the larger world, off of the island. This film leaves us with a conclusion that brings this series into new and uncharted territory. And frankly, I’m not sure why more people weren’t on board with how this film evolves beyond just dinosaurs on an island that mankind can just avoid (but never does).

In my opinion, this film gave the franchise a good shot in the arm, giving it more energy to move forward into the future. Now I’m actually kind of enthused about the future of these movies, as the next one certainly won’t be just the same ol’ shit. It could be a really interesting end to this trilogy.

In fact, I’d take another decade or so off after the next film and then come back in the 2030s with a third and final trilogy that is pretty much Dino Riders. I’m not the only one that remembers the awesomeness of Dino Riders am I?

Rating: 7.75/10
Pairs well with: Any of the Jurassic Park/World films.

Film Review: Grindhouse (2007)

While I have seen both Robert Rodriguez’s Planet Terror and Quentin Tarantino’s Death Proof multiple times, I never got to see the full-length version of Grindhouse until now.

When it came out in 2007, only one theater near me carried it and it wasn’t there very long, so I missed it. Also, the films were released separately, as expanded editions, when they hit store shelves. There wasn’t a full version of Grindhouse available after its theatrical run.

When I subscribed to Starz via my Amazon Fire Stick, I saw that the full version of the movie was available and thus, I could finally rectify this cinematic injustice. I’m really glad that I did because these films actually play much better in this format, as double-billed companion pieces to one another.

Plus, I finally got to see the trailers, as a part of this overall experience, even though I have seen them on YouTube multiple times since 2007.

Robert Rodriguez’s trailer for Machete was a highlight of the film and it was so good that it became its own motion picture and then expanded into a franchise. Rob Zombie’s Werewolf Women of the SS trailer was interesting enough, as a trailer, but doesn’t seem like something that will work as a full-length feature. The same can be said for Edgar Wright’s Don’t. Now Eli Roth’s Thanksgiving should be made into a full-length slasher film in the same vein as Machete. Roth has hinted at making it and I hope he eventually does.

This film also spawned a contest for fans to make fake trailers in the grindhouse style. This lead to the full-length feature Hobo With A Shotgun, which was a hell of a lot of fun. I need to re-watch it and review it in the near future.

Moving beyond the fake trailers, we have the two big films that make up the bulk of the Grindhouse experience. So let me get into each film and discuss them on their own.

Planet Terror (2007):

Release Date: April 6th, 2007
Directed by: Robert Rodriguez
Written by: Robert Rodriguez
Music by: Robert Rodriguez
Cast: Rose McGowan, Freddy Rodriguez, Michael Biehn, Jeff Fahey, Josh Brolin, Marley Shelton, Stacy Ferguson, Bruce Willis, Naveen Andrews, Electra Avellan, Elise Avellan, Quentin Tarantino, Tom  Savini, Michael Parks

Rodriguez International Pictures, Troublemaker Studios, Dimension Films, 103 Minutes

Review:

“Now you’ve got a gal in your wrecked truck with a missing leg? A missing leg that’s now missing?” – Sheriff Hague

Planet Terror has always been my favorite of the two movies in Grindhouse. That still stands, as I love just about everything about it. It may even be my favorite Robert Rodriguez picture but it is a close race between this, From Dusk Till Dawn, Machete and Once Upon A Time In Mexico.

The film is essentially a zombie outbreak movie but it is really gross, even for that genre. People’s faces start bubbling into puss and there is a lot of blood and other strange bodily fluids oozing out of people throughout the movie. There are also lots of severed testicles and a melting penis. It’s a gross movie but it is still well done and it doesn’t overtake the picture making it a mindless gore festival.

Planet Terror has a lot of depth and character development for a movie loaded with a ton of people. Everyone has an interesting story and it is cool seeing it all play out as these people eventually come together in an effort to escape the growing threat of a zombie apocalypse.

It also really fits the old school 1970s exploitation style of horror pictures that populated grindhouse theaters in big cities. The cinematography really captures the right vibe and kudos to the extra graininess and inconsistent look of different shots in the same sequences.

The practical effects also work well in making this film fit the grindhouse mold. Sometimes there is obvious CGI and it is a reminder that this isn’t a true 70s grindhouse picture but it isn’t a distraction and it serves its purpose well enough.

The cast is also phenomenal. I remember that when I first saw this, that I hoped it would open up doors for Freddy Rodriguez. He’s still not anywhere close to being a household name but his character of El Wray should reappear in some way, in some other Rodriguez picture. He’s a guy too cool to just be confined to this one movie.

This is also my favorite thing that Rose McGowan has ever done. Plus you get a very evil Josh Brolin, an enchanting Marley Shelton, a bad ass Michael Biehn, plus Michael Parks, Tom Savini, Bruce Willis, Lost‘s Naveen Andrews and Quentin Tarantino as his most despicable character to date. Jeff Fahey, who is always stellar, really kills it in this movie as J.T. the Texas B-B-Q king. Also, Fergie from the Black Eyed Peas has never looked better.

Planet Terror is unique, even for a film in a tired genre. It takes the zombie formula and ups the ante in every way possible. Rodriguez made a fine picture that should be mentioned alongside other great zombie classics.

Rating: 8/10

Death Proof (2007):

Release Date: April 6th, 2007
Directed by: Quentin Tarantino
Written by: Quentin Tarantino
Music by: Rachel Levy, Jack Nitzsche, Mary Ramos
Cast: Kurt Russell, Rosario Dawson, Vanessa Ferlito, Jordan Ladd, Rose McGowan, Sydney Tamiia Poitier, Tracie Thoms, Mary Elizabeth Winstead, Zoe Bell, Eli Roth, Quentin Tarantino, Michael Parks, James Parks, Marley Shelton

Troublemaker Studios, Dimension Films, 114 Minutes

Review:

“Because it was a fifty fifty shot on wheter you’d be going left or right. You see we’re both going left. You could have just as easily been going left, too. And if that was the case… It would have been a while before you started getting scared. But since you’re going the other way, I’m afraid you’re gonna have to start getting scared… immediately!” – Stuntman Mike

When I first saw Death Proof, it didn’t resonate with me. I mean, I enjoyed it enough but it just didn’t compare to the work that Quentin Tarantino did before it. I still feel this way but I have more of an appreciation for the film now. Also, seeing it in the Grindhouse format, which is more condensed, serves the film better.

The problem I initially had with the film, and some of Tarantino’s other pictures, is that it is way too talky. Sure, he writes great dialogue but sometimes it can run on for far too long. Death Proof in its longer running time falls victim to this. The condensed Grindhouse version, however, is better balanced.

Another problem with the film, is that many of the characters just aren’t likable. This is especially true for the first group of girls we meet. At least the second group felt more like friends and their conversations came across as more natural and authentic.

Kurt Russell initially knocks it out of the park as the killer driver, Stuntman Mike. However, as the film and his character evolves, he completely loses the cool bad ass shtick and becomes a giant whining weeny. His character transformation isn’t a bad thing, it is just how it is executed that makes it a problem.

The one thing that really makes this a cool picture, however, is the cars and the stunts. Tarantino selected some seriously bad ass automobiles that were homages to films that influenced him. The stunt work and action was amazing and the sequence of the first major accident was shot and executed stupendously.

The problem with the film, being that it is supposed to be a grindhouse throwback, is that it needed more balls-to-the-wall mayhem and less chit chat. The fact that this has a lot more dialogue than Robert Rodriguez’s Planet Terror but somehow can’t develop characters as well is pretty baffling. Tarantino would just rather focus on cool conversations on subjects that directly interest him than to have any sort of meaningful character development. You just don’t care about these people in the same way you care about those in Planet Terror.

Regardless of my criticisms, I do still like this movie. But to be honest, I still think it is the worst film in Quentin Tarantino’s oeuvre. Granted, that doesn’t mean much, as everything he’s done has been fairly great in some way.

In the end, this is still entertaining as hell and who doesn’t love muscle car chaos and kick ass chicks?

Rating: 7/10

Additional directorial credits:

Robert Rodriguez – Machete trailer
Rob Zombie – Werewolf Women of the SS trailer
Edgar Wright – Don’t trailer
Eli Roth – Thanksgiving trailer

Additional acting credits from the fake trailer segments: Danny Trejo, Nicolas Cage, Sheri Moon Zombie, Cheech Marin, Udo Kier, Tom Towles, Sybil Danning, Bill Moseley, Will Arnett, Nick Frost, Rafe Spall, Jason Issacs, Simon Pegg, Peter Serafinowicz