by Steve Habrat
In 2007, Quentin Tarantino and Robert Rodriguez introduced mainstream audiences to exploitation cinema or “grindhouse” cinema with their sleazy double-feature experiment Grindhouse. Their experiment failed to resonate with audiences, at least at first, but in the wake of Grindhouse, there was a growing interest in exploitation cinema from the mid 1960s until the mid 80s. Glorifying sex, violence, and depravity, “grindhouse” movies were “ground out” in dingy old movie palaces or rickety drive-in theaters while a wide range of colorful audience members smoked dope, pleasured themselves, mugged other audience members, heckled the screen, and relieved themselves in soda cups to avoid a trip to the creepy bathrooms. Ranging from spaghetti westerns to European zombie movies to cannibal films to blaxploitation flicks to all out pornography, exploitation had many forms and a good majority of them were absolutely awful. However, there were more than a few stand outs that managed to hold up over the years and earn respectable cult followings. So, without further ado, here are Anti-Film School’s ten best grindhouse films of all time. Take comfort in the fact that you can watch them in your own home, far away from the junkies of 42nd Street!
WARNING: EXTREMELY GRAPHIC IMAGES
10.) I Spit on Your Grave (1978)
Israeli director Meir Zarchi’s stunningly graphic rape/revenge flick has become one of the most infamous grindhouse films ever made. The film notoriously enraged critics upon its release and even caused Roger Ebert to write one of the most scathing film reviews of his career. I Spit on Your Grave is trashy, sleazy, mean, brutal, and harrowing, with plenty of sex and violence to fuel a dozen exploitation pictures. So what makes it so awesome? Folks, when this poor woman unleashes her fury, it will have you simultaneously cheering her on while covering your eyes and reaching for the barf bag. I Spit on Your Grave was remade in 2010, but the polished presentation and evidence of a studio budget failed to pack the punch of the gritty original.
9.) The Texas Chain Saw Massacre (1974)
Tobe Hooper’s The Texas Chain Saw Massacre is one seriously scary movie. Believe me, folks. It may also make you want to take a shower, become a vegetarian, and never go anywhere near the Texas border. Wielding a nerve-frying sense of realism, this grim and grimy tale about a group of young friends who come face to face with a family of murderous cannibals led by Leatherface was inspired by the heinous crimes of real life serial killer Ed Gein and famously spooked the horror-hating critic Rex Reed. Surprisingly, Hooper adds little gore to the mayhem and instead relies on the thick Texas heat, dilapidated brans, abandoned meat packing factories, and rusty family-owned gas stations to keep us on our toes. Wait for the final fifteen minuets, with a gut-churning family dinner, star Marilyn Burns screaming herself horse, and Leatherface doing a dance of death in the middle of a highway.
8.) Faster, Pussycat! Kill! Kill! (1965)
Sexploitation king Russ Meyer’s snarling Faster, Pussycat! Kill! Kill! is one of the funkiest films you are ever likely to see. It has just about everything an exploitation fan could want: ass-kicking go-go dancers, drag races, fist fights, big breasts, sadistic backwoods males, and switchblades. It is like a living, berating cartoon that wouldn’t hesitate to rip your throat out. It is precisely this pulpy, comic book touch that makes Faster, Pussycat! Kill! Kill! such an essential grindhouse thrill ride. The action is breakneck, the fights are bone-snapping, the races are smoking, and the go-go dances will have the male viewers hot under the collar. The middle section of the film begins to sag, that I will admit, but the curvy Varla and her no-nonsense attitude keeps the entertainment level as high as it will go.
7.) El Topo (1970)
The film that started the midnight movie craze, Alejandro Jodorowsky’s El Topo is a work that you can’t even begin to fully understand or truly put in words. It’s a spaghetti western that really isn’t a western at all. At times spiritual, at times existential, at times beautiful, but almost always brutal beyond belief, El Topo follows a lone gunslinger named El Topo (played by Jodorowsky) on his quest to confront a handful of cunning warriors lurking out in the desert. At the time of its release, John Lennon and Yoko Ono were very vocal about their love for El Topo, and over the years, it has caught the attention of David Lynch, Peter Fonda, Dennis Hopper, Marilyn Manson, and Bob Dylan. There is no doubt that El Topo will shock, swoon, and appall all who see it, sending the viewers away to discuss and debate the surreal string of images that Jodorowsky springs on them. You truly won’t believe your eyes.
6.) The Streetfighter (1974)
You can’t have a list of the best grindhouse films of all time without including this wickedly savage Sonny Chiba classic. The Streetfighter is a mess in the plot department, but you’re not here to for a mind bending story. No, you’re here to watch Sonny Chiba, who seriously makes the best facial expression ever while throwing down with a sea of bad guys, rip some guys balls off, rip another dude’s vocal cords out, and sock a guy in the gut so hard that he barfs (trust me, there is a hell of a lot more). It’s great and it is even better if you watch it with a group of friends that howl every time someone memorably bites the dust. The Streetfighter ended up being the first film ever to receive an “X” rating for violence and even by today’s standards, it would make most splatter directors blush. It stands proudly as one of the greatest kung-fu films ever made.
5.) Halloween (1978)
Believe it or not, John Carpenter’s icy tale of the Boogeyman in suburbia was indeed a grindhouse movie. Made by an independent studio and on a shoestring budget of $325,000, this terrifying slasher pic is widely considered to be the most successful independent feature of all time. Halloween is the ultimate example of less-is-more and it inspired a slew of holiday-themed slashers that emerged in the wake of its popularity. There is so much to love here, from the spine-tingling score to the seemingly supernatural Michael Meyers, and plenty to give the viewer nightmares for a week. Halloween was followed by a number of sequels, two of which are worth checking out, and a gritty, ultra-gory remake in 2007 by shock rocker-turned-director Rob Zombie. There have been countless imitators, but the original Halloween remains the scariest slasher film ever made.
4.) Ilsa, She Wolf of the SS (1975)
One of the more extreme and sexually graphic films on this list, Ilsa, She Wolf of the SS, was one of the original women-in-prison grindhouse films. Directed by Don Edmonds and shot on the leftover sets of Hogan’s Heroes, Ilsa, She Wolf of the SS has earned its reputation through its borderline pornographic sex scenes, prolonged sequences of torture, its surprisingly serious approach to the silly material, the grim ending, and Dyanne Thorne as the sadistic Ilsa. Seriously, wait until you get a load of Thorne’s Ilsa. If taken for what it is, Ilsa, She Wolf of the SS is pretty entertaining even if you’re constantly closing your eyes or watching with your jaw on the floor. In October, I actually had the pleasure of meeting Dyanne Thorne and she was a gigantic sweetheart even if she was dressed in her Nazi uniform. For those looking to cut their teeth on the savage stuff, make sure you get ahold of the blood-splattered Ilsa, She Wolf of the SS. It is the real deal.
3.) Thriller: A Cruel Picture (1974)
Would you believe that director Bo Arne Vibenius, the man behind Thriller: A Cruel Picture, once worked with Swedish art house director Ingmar Bergman? If you’ve seen Thriller: A Cruel Picture, you probably can’t. The ultimate rape/revenge film, Thriller would chew I Spit on Your Grave up and then spit it out, place a double barrel shotgun to its head, and then blow its brains clean out. The tagline warned viewers that Thriller was “the movie that has no limits of evil” and it really meant it. Following the beautiful young Frigga (played by bombshell Christina Lindberg), who is abducted and forced into a life of drug addiction and prostitution before she snaps and goes on a killing spree, Thriller: A Cruel Picture is about as rough and tough as a motion picture can be. Vibenius unleashes graphic sequences of sexual intercourse (complimented by a shrill static sound effect to make the viewer cringe) and slow-motion shots of Frigga’s tormentors tumbling through the air while gore spills from the bullet wounds. He also gouges the eye ball out of a real corpse. So, do you think you have the stones to go up against Thriller: A Cruel Picture?
2.) Cannibal Holocaust (1980)
Ruggero Deodato’s “found footage” gross-out Cannibal Holocaust was so realistic, that when the film premiered in Milan, Deodato was arrested and charged with obscenity. Certainly not for everyone, Cannibal Holocaust has become the most controversial movie ever made and it lives up to its reputation. Featuring strings of unblinking violence with barely a cut to be found, real footage of animals being killed (this aspect of the film particularly disturbed me), and the most repulsive sex/rape scenes every filmed, Cannibal Holocaust is the film that goes all the way and doesn’t even consider looking back. Believe it or not, Cannibal Holocaust is a shocking reflection of the violence lurking in even the most “civilized” human beings, something you’d never expect from a film that seems content to wallow in depravity. The film sparked a number of copy cat cannibal films that emerged out of Italy throughout the 80s, but none could match what Deodato created. Deodato has since stated his regret in making the film, but Cannibal Holocaust has earned a fairly respectable cult following. It is certainly not for the faint of heart.
1.) Zombie (1979)
Legendary Italian horror director Lucio Fulci has been widely considered to be the “Godfather of Gore” and he certainly lives up to that reputation with Zombie. Released in 1979 and marketed as the sequel to George A. Romero’s zombie epic Dawn of the Dead (the films have no connection), Zombie is about as fun and icky as a zombie film can get. It is gratuitous with its blood and guts as well with its nudity (breasts are flashed for seemingly no reason at all). Zombie certainly lacks the sophistication of a Romero zombie film and absolutely no one expects it to make a profound statement about society, but it does get the zombie action right. Rotten corpses claw out of the grave, freshly infected shuffle through rickety tropical ghost towns looking for victims, a zombie battles a shark (yes, you read that correctly) and ghouls rally together at the climax to infiltrate a bordered up makeshift hospital. And boy, does it feature some nasty looking zombies. A midnight movie of the highest order, Zombie is balls to the wall insanity. Fun Fact: Zombie‘s trailer promised queasy viewers a barf bag with their ticket!
by Steve Habrat
To anyone who is considering seeing Drive, the new action thriller starring Ryan Gosling, you should be warned about what you will be getting yourself into. I say this because this is a fierce film. There are moments that are downright repugnant and not for those who disconcert easily. I had to search long and hard for the picture I used above because I felt that the main picture had to convey what this film really turns out to be. This noir-inspired, 80’s influenced retro picture thrives on its breakneck action, dismal atmosphere, ethereal electronic score, head-stomping violence, and a performance from Gosling that should guarantee him a spot in the Best Actor category at the Oscars. It will no doubt leave you in a state of shock, as the beginning of the film is relatively patient and discreet. Much to the dismay of the audience, it displays moments of pure, pretentious splendor. However, once Drive kicks things into high gear and it revs it’s supped up engine, this baby means business. And so does Gosling’s Driver. It all adds up to one of the best films I’ve seen this year.
I’ll tell you straight, this is an art film dressed up in action threads. It prefers complex characters to walking clichés. Gosling’s Driver is a man of a few soft grunts and sparse words. He flashes the occasional preoccupied smile at his next-door neighbor Irene (Played by Carey Mulligan) and her son Benicio and he mostly keeps to himself. He effortlessly shrouds himself in mystery. The Driver (we never learn his actual name) drives stunt cars for movies, works in an auto mechanic shop, and also acts as a getaway driver for criminals. He has a strict line of rules that he lays down for the thugs that get in and out of his wheels. They have five minutes once they are inside, he does not carry a gun, when they are out, he belongs to them, and he only works for them one time. When Irene’s husband Standard (Played by Oscar Isaac) returns home from prison, some goons that are coming to claim protection money demand that he robs a pawn shop to get them their riches, or they will kill Irene and his son. The Driver offers his services, but during the heist, things go horribly wrong. It turns out that this is just a small piece of a larger crime puzzle that is being controlled by two mobsters, the Jewish Nino (Played by Ron Pearlman) and Bernie Rose (Played by Albert Brooks). The Driver gathers himself and sets out to protect Irene and her son from the mobsters who are slowly closing in on them and are hell bent on wiping everyone out who can link them to the heist.
Drive feels like a synthesis of David Lynch films (Lost Highway especially), Quentin Tarantino, a forgotten 80’s action flick, Clint Eastwood’s The Man with No Name, and Miami Vice swagger. It helps that the synthy score conjures up nostalgia every time it thumps over the speakers. The hot pink credits help too. But it’s Gosling’s unvoiced antihero that feels like the real relic. He feels like a lost hero from the Regan era. He’s emotionally complex, but also tough no matter what happens. Nothing fazes him and we play by his rules. He even nibbles at a toothpick, reminiscent of Eastwood’s cigar chewing Man with No Name. The film takes a hokey turn at the end when the Driver just begins finding all the mobsters he has set out to kill with little effort. Who knew it would be that easy? One would think that the writer and director would have added more of a build up before the end confrontation. The climax is sadly rushed, showing prominent similarities to Super 8 and Green Lantern (I understand they are drastically different movies, but their endings are extraordinarily similar). It just ends tersely. For a film that packs this much suspense and brute force, it left me wanting much more.
This film’s atmosphere, which is menacing and downright intimidating, adds to its own spellbinding success. At times, all you can do is laugh to soften the blow of its dead serious tone. It almost becomes a coping mechanism while watching the brutality of this film play out before you. The Driver always seems to lurk in the shadows. He works as a Hollywood stunt driver so it’s easy to assume he would live glamorously. Here the film evokes images that would seem appropriate in David Lynch’s Inland Empire, Mullholland Drive, or Blue Velvet. There is evil lurking below all that glitz. There is also an existential haze to the film. The Driver lives on the edge, in the thrill of the moment. Every day could be his last. Director Nicholas Winding Refn has called the film a tribute to Alejandro Jodorowsky, director of cult experimental films El Topo, The Holy Mountain, and Santa Sangre, whose films usually have a character on a quest for the meaning of existence. The viciousness of Drive certainly takes a page from Jodorowsky, as the film has some extreme gore, most notable is the elevator sequence. Gosling stomps a hit man’s face in to the point where it’s reduced to just red goop. Somewhere, French director Gaspar Noe is howling with delight. The audience I saw this with was howling in horror.
Drive consistently makes us ask the screen “Are you really going to go THERE?!” It always does, but it does have an unpredictable streak to it. You can never fully envisage it even if it is familiar. The film doesn’t rely on its violence and action (there is plenty, but not enough to satisfy some action fiends), but instead allows the chemistry between actors do the heavy lifting. Though the dialogue is limited between Mulligan’s Irene and the Driver, the moments they spend together are tender. When the Driver confronts gangster Bernie Rose, they fight with words rather than bullets or fists. “You will spend the rest of your life looking over your shoulder,” Rose promises. It’s scenes like this that make every hair on your body stand up and churn your guts. Ron Pearlman’s Nino hams up the screen and he’s delightfully cartoonish. The film is the Gosling show, however, and with this role, I have to deem any project he is attached to in the future a must-see. He has become one of the most eccentric actors around.
Once you see Drive, you will never forget it. It’s like a parasite that worms its way in and posses you. I’ve found myself shaken up in the mere hours since I went to the theater to see it. The friends I went with were rattled and in a state of shock. You should know what you are getting yourself into when you see this. It’s not your conventional action film with clear-cut baddies and good guys. Everyone seems to have darkness in his or her hearts and cracked souls. Come year end, I will be singing its praises for all to hear. Drive is like a restored muscle car. It’s great to look at and when you see it, it pulls you in, but it’s what’s under the hood that counts. And Drive has a lot going on under the hood. Grade: A-