December 22 2006

Welcome To The Grindhouse

You all know I love movies. If you don’t know that, you don’t pay very close attention! You’ve also picked up on is I like my movies to make sense, have logical conclusions, and not to insult the audience. There is one time I will excuse all these criteria though, and that’s when the film makers are passionate about their subject matter. Robert Rodriguez and Quentin Tarantino are two of those film makers. Their films don’t always make sense, they aren’t high art, and are quite often silly, but every frame of their films drip with the obvious enthusiasm for film.

That being said, their latest collaboration is…different to say the least. The project is called “Grindhouse“, but that is an overall umbrella name for the two separate films they’ve made. Grindhouse is a term for movie theaters that specialize in showing 1970’s exploitation films. If you don’t know what that means, it would take too long to explain, just think lousy 1970’s movies.

Rodriguez came up with “Planet Terror” about zombies, and Tarantino’s half is called “Death Proof” about a crazy man with a car, killing pretty women. Sound like schlock? Good! This is supposed to harken you back to those awful B movies of the 1970’s!

So why am I writing about this? It seems not many people know about this project yet, and the first trailer just came out today, go check it out! I am very excited about this project, but I like the odder projects to come out of Hollywood.

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  • Roy

    I’m sorry but I failed to see Spy Kids 1-3 drip with any Rodriguez enthusiasm and let’s not even talk about “once upon a time in mexico” although Sin City kind of makes up with that. But then again most of it is Frank Miller…

  • You don’t think Spy Kids had his enthusiasm?!? That was 100% his project and a labor of love. I didn’t thrill to 2 as much as 1, and 3…glad he enjoyed it. Once Upon A Time In Mexico could have done with some editing, but again, it was all his vision.

    Sin City, and what it took to get it made, erased any misgivings I ever had about him. He ad to leave the Director’s Guild because he wanted to give Frank Miller directing credits. It ended up costing him the John Carter Of Mars project he was working on at Paramount because they are a union only house. So his sense of right ended up costing him a huge project (which has now fallen apart and changed directors twice since he left), but it gave me a whole new appreciation for his belief in his own work.