Promoted as a violent, over-the-top, silly, irreverent romp with a slightly misogynistic twist, “Grindhouse” – the collaborative effort between fanboy idols Robbie Rodriguez and Quentin Tarantino – has finally hit theaters nationwide.
And while it turns out “Grindhouse” is a violent, over-the-top, silly, irreverent romp, its two films share an undeniable and surprising feminist theme. Between Rose McGowan blowing away zombies with her semi-automatic rifled leg and Rosario Dawson beating the crap out of a deranged Kurt Russell, girl power plays a significant role in this three-hour double feature.
Of course, the two films that make up “Grindhouse” – “Planet Terror” and “Deathproof” – boast typical male heroes, as well as moments of gratuitous, female objectification. For the most part, however, the films’ stirring moments occur when women are sick and tired of being bossed around.
The movies aside, a series of crazy and often hilarious made-up movie trailers are spliced before and between the two films, enhancing their retro and self-consciously silly appeal.
In many ways, the trailers are more potentially offensive to women and the thin-skinned than the films, as they flash more breasts and gratuitous violence in three minutes than either of the main features does in an hour. “Thanksgiving,” a preview so hilarious and nasty it almost seems plausible, stands out as one of the best.
The first act of the double feature, “Planet Terror,” stars McGowan as a go-go dancer who, alongside her ex-boyfriend (Freddy Rodriguez), struggles to survive in the midst of a zombie outbreak.
TV star Naveen Andrews (“Lost”) plays a scientist who keeps the testes of the men he kills in a jar. Bruce Willis makes an appearance as a military leader with his own agenda, not to mention a serious skin problem.
Even Fergie, Black Eyed Peas singer and solo artist, makes a brief cameo in the beginning of the zombie flick, boasting the prerequisite cleavage required to fill the role of the zombies’ first kill. (From the looks of it, the zombies thought she was D-to the-E-to the-L-I-C-I-O-U-S.)
“Planet Terror,” which was directed by Rodriguez, is a take-no-prisoners, sometimes ridiculous voyage into the world of camp. Though it might be a bit gory or a bit too conceptually dumb for some, most B-movie fans will appreciate this remarkably solid homage.
The second half of “Grindhouse” – “Deathproof” – takes a different approach to re-imagining ’70s, low-budget, exploitation films. Directed by Quentin Tarantino, the film stars Russell as “Stuntman Mike.”
Russell’s villainous character uses an intimidating car and his skills as a former stuntman to kill groups of young women. A minor character hints that Mike kills to satisfy a deranged sexual frustration, though Mike’s psychology is not important enough to merit real discussion. What is important, however, is that Mike is twisted and sadistic, and he’s killing innocent women.
At first, Tarantino’s talk-heavy dialogue and character-driven approach seem strange, especially since it follows the over-the-top bombast of “Planet Terror.” Once the film gets to its halfway mark, however, it picks up steam with the introduction of a new set of young, female targets.
“Deathproof” boasts a lengthy car chase sequence, which is notable, Tarantino said, because it is accomplished without special effects, like computer-generated imagery. Midway through the car sequence, the plot, up to this point formulaic, takes a surprising turn when the female heroines start hunting the hunter. This shift is notable for the guiltless glee the avenging heroines display as they dispose of the mass murderer.
The women’s unabashedly joyous revenge reflects the changing times, and its brilliance lies in its recognition that women today are fed up with being portrayed and treated like victims.
As much as Tarantino might be perceived as a guy’s guy who loves T & A and a lot of violence, he’s managing to become one of the biggest feminists in Hollywood, as his previous films, “Kill Bill” and “Jackie Brown,” showcase strong women, as well.
That said, while the films are separately strong, and while they express very different aesthetics and ideas, “Planet Terror” stands as a slightly more entertaining movie, though it is certainly less artsy and inventive than “Deathproof.”
Tarantino’s quieter and quirkier tale of a crazed killer stalking women seems odd alongside Rodriguez’s epic zombie-fest. As a follow-up, it can be hard to pay attention to, and often Tarantino’s trademark talky dialogue doesn’t quite fit with the exploitation film prototype, which these films are aiming to celebrate.
Nonetheless, by the time the credits role on “Grindhouse,” viewers have enjoyed a movie experience that manages to celebrate sex, violence, horror and female empowerment, while at the same time basking in the joys of unapologetically pulpy filmmaking. What’s not to love?
Grades:
‘Planet Terror:’ A
‘Deathproof:’ A-
Overall for “Grindhouse:” A