by Steve Habrat
In 1966, Roger Corman’s American Internation Pictures (AIP) released The Wild Angels, an outlaw biker gang movie that gave birth to a brand new exploitation subgenre. With The Wild Angels a hit and biker culture breaking through into the media, AIP quickly started churning out more of these rough-and-tough biker films that featured up-and-coming stars like Peter Fonda, John Cassavete, Dennis Hopper, Jack Nicholson, Bruce Dern, and Larry Bishop. While Bishop never quite achieved the A-list status as some of the other actors that made appearances in these films, he remained a cult icon that obviously caught the eye of exploitation mega-fan Quentin Tarantino. In 2008, Tarantino encouraged Bishop to write, star, and direct a throwback to the outlaw biker films of the 60s and 70s, even offering to executive producer the picture if Bishop would agree to make it. The result of this collaboration is Hell Ride, a jumbled and awkward nod to the exploitation genre that gave Bishop his start. The only thing that keeps Hell Ride from being tossed into the junkyard is the presence of fellow genre stars Michael Madsen, David Carradine, and Dennis Hopper, who try their damndest to make sense of the script and add some extra slicked-back masculinity to all the blood, sex, and violence. It also slightly helps that the film boasts a fairly authentic late 60s/early 70s visual style and a gritty Ennio Morricone-esque score.
Hell Ride introduces us to Pistolero (played by Larry Bishop), the grizzled president of the motorcycle gang called the Victors. We learn that in 1976, Pistolero’s beautiful girlfriend, Cherokee Kisum (played by Julia Jones), was brutally murdered by the Deuce (played by David Carradine) and Billy Wings (played by Vinnie Jones), two high-ranking members of a rival motorcycle gang called the Six-Six-Six’ers. Many years pass and the Six-Six-Six’ers gang falls apart, but Pistolero still craves revenge. After a veteran member of the Victors is murdered in the same manner as Cherokee Kisum, Pistolero begins to suspect that the Six-Six-Six’ers are reforming and attempting to make a comeback. Seeing his chance to exact his revenge on the Six-Six-Six’ers, Pistolero rounds up the Gent (played by Michael Madsen) and Commanche (played by Eric Balfour), two fellow members of the Victors and close friends of the heartbroken president, to help him wipe the rival gang out once and for all. With several members of the Victors either switching sides or turning up dead, Pistolero races to track down the Decue and Bill Wings before they can reach him. In the process, Pistolero learns that Cherokee Kisum had some secrets of her own, and that one of his new gang members may have a connection to the slain woman.
If you’ve seen the trailer or glanced at the poster for Hell Ride, you’ve noticed that Tarantino’s name shows up in big bold text on both, making it seem like he played a major part in the film’s production. About five minutes into the actual film, you’ll realize that is far from the truth. Where Tarantino is capable of delivering a casual cool that seems effortless, Bishop’s tough-guy style just seems forced and uninspired—amazing considering that this guy’s career began in these types of macho outings. Visually, Bishop understands how to make the film feel like a forgotten exploitation film from the 70s. It switches from gritty black and white shots of leather-clad bad-asses rocketing down dusty highways to vibrant LSD trips out in the rocky deserts. Strewn throughout the retro visual style is a plethora of sex, drugs, roaring steel, and violence, all set to a Morricone-esque score that gives the film a slight spaghetti western feel. The orgies, beheadings, ambushes, and motorcycle porn all seem appropriate, especially since Bishop is trying to pay tribute to a hardened exploitation subgenre. But where he really looses his grip on the project is with the characters, convoluted plot, and the cringe-worthy dialogue. It’s especially painful because these guys are veterans of the B-movie circuit.
In addition to writing and directing Hell Ride, Bishop also leads a legendary cast deep into the sizzling desert. A good majority of Bishop’s performance finds him mumbling his dialogue, staring down his opponents over his slouching sunglasses, or squeezing girl’s butts in a lame attempt to show he’s a real lady-killer. Madsen brings his Elvis-like cool to the role of the Gent, but he struggles with flimsy dialogue and a lack of anything substantial to do aside from standing around. Balfour does a surprisingly decent job at trying to hang with these grizzled beefcakes, as his character is the only one with anything resembling depth. The legendary David Carradine’s is reduced to being strapped to a chair and carefully growling bland dialogue at Bishop. Dennis Hopper seems to be having a grand old time back on his hog, but weirdly, Bishop seems like he is constantly restraining him when he should be letting him go full crazy. Rounding out the cast is Vinnie Jones as the wildly profane Billy Wings, a ruthless villain that is largely absent until the final stretch. Overall, for all the talent involved with Hell Ride, the entire project comes off as cheap and amateurish, which is perplexing because it should have been a rock-solid, testosterone-fueled thrill ride. To make it worse, the plot is like a tangled ball of yarn that Bishop can’t even sort out. This rusty clunker would have been better suited as a brief three-minute faux trailer in Grindhouse. It would have been a hell of a lot more fun.
Hell Ride is available on Blu-ray and DVD.
Django Unchained (2012)
After what felt like an eternity (just slightly under four months, actually), Quentin Tarantino’s masterpiece Django Unchained is finally available on Blu-ray and DVD. If you didn’t see my Top 10 Films of 2012 list, then you didn’t know that this ultra-violent and ultra-entertaining spaghetti western was my pick for the best film of last year. Funny, action packed, stunningly well-written, and unflinching, Django Unchained also features some of the best performances from last year (wait until you see Christoph Waltz and Leonardo DiCaprio). The Blu-ray isn’t particularly bursting with features, however, there is a documentary called Reimagining the Spaghetti Western: The Horses & Stunts of Django Unchained, a look at the costume designs from Sharen Davis, and a feature called Remembering J. Michael Riva: The Production Design of Django Unchained. If you’re a fan of cinema or a Tarantino nut, you might want to high tail it over to Best Buy to pick up their special edition that comes in some nifty packaging that will look mighty cool next to your Tarantino XX collection. So, if you wish to read the Anti-Film School review of Django Unchained, click here, and if you’re curious why I picked it as the best film of 2012, click here.
-Theater Management (Steve)
by Steve Habrat
After disappearing from movies for six long years, Quentin Tarantino finally returned in 2003 to the cinema scene with one of his wildest films yet. Enter Kill Bill: Volume 1, a globetrotting epic that blends together blood-drenched kung fu, anime, squinty spaghetti westerns, sleazy revenge flicks, and, you guessed it, more pop culture references than you can shake a Hattori Hanzo sword at. After his rather docile blaxploitation feature Jackie Brown, it was great to see Tarantino embrace a whirlwind of crazy again but Kill Bill: Volume 1 remains a film that turns many viewers off, especially if they are not in on what Tarantino is trying to do. Kill Bill: Volume 1 is another love letter to the exploitation films Tarantino marveled at as a kid, but the film is also a nod to the influence Akira Kurosawa’s Yojimbo had on the creation of the spaghetti western. Kill Bill: Volume 1 stands as more of a vibrant kung fu movie than a spaghetti western (the spaghetti western is alive and well in Kill Bill: Volume 2) and it puts a lot more emphasis on artery spurting action sequences than in-depth story. Despite all of its energy, Tarantino still slips in some knockout emotion, especially near the end when we begin to learn more about Uma Thurman’s mysterious and bloodthirsty Bride. Until then, Tarantino keeps you glued to the candy-colored action and boy, those action scenes are exhilarating.
Kill Bill: Volume 1 introduces us to the Bride (Played by Uma Thurman), who was a valued member of the Deadly Viper Assassination Squad led by Bill (Played by David Carradine). It turns out that the Bride grew tired of working as a hitwoman and decided to distance herself from the group and find love. On the Bride’s wedding day, her old coworkers burst into the El Paso wedding chapel, gun down her friends, family, and fiancé, and then proceeded to beat her to a bloody pulp. After the savage beating, Bill proceeds to shoot her in the head despite a last gasp plea that she is pregnant. The Deadly Viper Assassination Squad assumed they killed the Bride but instead, they put her in a coma for four long years. After snapping out of the coma, the Bride makes a list of all who were involved with the massacre, tracks down Japanese sword maker Hattori Hanzo (Played by Sonny Chiba) in the hopes that he will create a new weapon for her to unleash her fury, and then sets her sights on former colleagues O-Ren Ishii (Played by Lucy Lui), who is now head of the Tokyo Yakuza and controls her own personal army called the Crazy 88, and Vernita Green (Played by Vivica A. Fox), now a housewife with an array of weapons stored around her home. Nothing will stand in the Bride’s way and she will not stop until every last one lies dead in the dirt.
Not nearly as chatty as Reservoir Dogs, Pulp Fiction, and Jackie Brown, Kill Bill: Volume 1 puts the pedal to the metal and jumps right into the bone-snapping action. The film opens with a thunderous confrontation between Vernita Green and the Bride. Sure, there are a few moments where the characters trade clever lines of dialogue but Tarantino seems more hell-bent on spilling as much blood and guts as he possibly can in just under two hours. At the time of its release, Kill Bill: Volume 1 was certainly Tarantino’s biggest and most polished film yet. When compared to his first three features, it is clear to see he had a lot more money to work with (the budget was $30 million). With that much dough in his hand, Tarantino dares to get flashy, especially at the climax of the film. The last portion of the film jumps to Tokyo in a swanky restaurant/bar/nightclub called the House of Blue Leaves, where the Bride confronts O-Ren and her Crazy 88. This showdown finds the Bride hacking and slashing her way through a seemingly endless army of hotshot gangsters in Kato masks as blood gushes like geysers from their wounds. It is hilariously extreme to the point where Tarantino had to scrub away the color and present it in black and white so the film would nab an R rating (it has also been said that Tarantino did this to pay tribute to the television airings of classic kung fu films, which would switch to black and white to mask some of the gore). It is the shining moment of Kill Bill: Volume 1, complete with the Bride dressed in a yellow motorcycle suit that pays tribute to Bruce Lee’s 1972 film The Game of Death.
Then we have Thurman, who plays the Bride with such ferocity that you would think that this was the last role she will ever play. I love the way that Tarantino drenches her in mystery, even censoring her name in a wicked tribute to Clint Eastwood’s Man with No Name. It is great the way he provides little morsels of information to tease and hook us for the big reveals of her character that will come in Volume 2. Yet Thurman remains one tough and scowling cookie, more so in this installment over the second, where he really fills her emotions in. She’s the ultimate hardass who never seems to break a sweat even as she is surrounded by hissing bodyguards. As the Bride bops around in her Pussy Wagon (a bright yellow pick up truck she steals from a perverted orderly), she encounters Daryl Hannah’s Elle Driver, a one-eyed femme fatale who is clearly a nod to Christina Lindberg’s character in Thriller: A Cruel Picture. We basically get a sample of her vile character but she is certainly an evil piece of work. There is also Fox’s Vernita Green, a smooth-talking lioness who gets into a living room brawl with the Bride. Fox is basically given an extended cameo, as Tarantino seems more interested in Lui’s O-Ren, the ruthless head of the Yakuza. He spills O-Ren’s back-story in a shockingly violent anime sequence that will captivate even those who don’t have much interest in anime. There is also Sonny Chiba’s wise and scene stealing Hattori Hanzo, Chiaki Kuriyama’s pint sized ball-and-chain assassin Gogo Yubari, and Carradine’s heard and only briefly seen Bill.
Kill Bill: Volume 1 is ultimately a mash up of everything Tarantino loves. It is loaded with toe tapping songs from a wide-ranging collection of artists. He opens the film with Nancy Sinatra’s “Bang Bang” droning over a silhouette of the Bride and has her flying off to Tokyo as the Green Hornet theme trumpets her arrival. He makes reference to countless grindhouse and exploitation films, mostly ultra-violent kung fu that he is always raving about in interviews. In addition to being a massive sampler, Kill Bill: Volume 1 is also Tarantino’s most cartoonish film. It is almost like witnessing a comic book suddenly springing to life, which is why I think some people tend not to really care for it. Overall, if you’re open to what Tarantino is trying to do here, you will be left wiping the drool off your chin when the credits role. Not one moment of the film ceases being cool and you can practically hear Tarantino giggling with glee at some points. If you’re new to Tarantino’s work, this is probably not the best place for you to start but for those who love his work, you’ll be thrilled to find him in full form again. Kill Bill: Volume 1 is a roller coaster ride from beginning to end.
Kill Bill: Volume 1 is available on Blu-ray and DVD.
by Steve Habrat
After the massive success of Reservoir Dogs and Pulp Fiction, the hype around Quentin Tarantino was through the roof. He put a creative spin on the gangster movie with Reservoir Dogs, made Pulp Fiction, which was labeled a modern day masterpiece, and then turned around and nabbed a Best Original Screenplay Oscar for it. Everyone was wondering what this exploitation-obsessed film guru would do next. Rather than writing another original screenplay, Tarantino chose to pen an adaptation of Elmore Leonard’s novel Rum Punch. Reworking the title as Jackie Brown and swapping the heroine’s race from white to black, Tarantino makes a modern day blaxploitation film that actually turns out to be his most mature work in his catalogue. Leaving behind the countless pop culture references and dialing back on the knee-jerk violence, Jackie Brown is a slow moving drama that lacks the instantly iconic characters and razor sharp humor that peppered his first two films. In true Tarantino fashion, he has gathered an ensemble cast and even found a way to revitalize the careers of blaxploitation queen Pam Grier and B-movie actor Robert Forster, who went on to earn a Best Supporting Actor nomination for his role. Despite being more mature, Jackie Brown does sag a little under its weight and lengthy run time, but I’ll be damned if Tarantino doesn’t put up a fight to keep the film off the ground.
Jackie Brown (Played by Pam Grier) is a beautiful but lonely flight attendant for a small Mexican airline called Cabalas Airlines. On the side, Jackie, whose career has hit a snag, smuggles money from Mexico to the United States for charismatic gunrunner Ordell Robbie (Played by Samuel L. Jackson). It turns out that Ordell is under surveillance by the ATF. After one of his employees, Beaumont Livingston (Played by Chris Tucker), is arrested, Ordell visits bail bondsman Max Cherry (Played by Robert Forster) and arranges for a $10,000 bail to spring Livingston out of fear that he may become an informant. It turns out that Livingston already blabbed to ATF agent Ray Nicolette (Played by Michael Keaton) and LAPD detective Mark Dargus (Played by Michael Bowen) while in custody and the two men intercept Jackie while she is arriving at the airport. Fearing that Jackie may also become an informant, Ordell once again visits Max and arranges her bail. After meeting Jackie, the mild mannered Max begins developing feelings for the tough flight attendant. Meanwhile, Ordell plans to murder Jackie but instead, she negotiates a deal to smuggle $550,000 of Ordell’s money out of Mexico, enough cash for him to retire. Ordell agrees, unaware that Jackie may be helping out the ATF agents. To make sure he ends up with the money, Ordell hires a stoner beach bunny named Melanie Ralston (Played by Bridget Fonda) and former cellmate Louis Gara (Played by Robert DeNiro) to help out with the job. With this much money involved, all the thugs begin devising way to make off with the cash for themselves but Jackie has other plans.
At two and a half hours, Jackie Brown certainly has its fair share of backstabbing, double crosses, and scheming going on. While it seemed appropriate in Pulp Fiction, Jackie Brown seems to just be rambling on and sometimes not in a good way. The first hour of the film is fun, a little sexy, and funny in spurts, but after a while, I was left wishing that Tarantino would pop the cork on crazy and get the party started. He never really does and it is slightly disappointing. However, you can’t really blame Tarantino for toning it down a bit after his rambunctious behavior in Pulp Fiction (Who could forget the Gimp?). And then there is the trademark dialogue, something we really look forward to when going into his movies. In Jackie Brown, you feel as though Tarantino is blending his dialogue with Leonard’s and the results are mixed. There are a few funny lines here and there and only a few moments where it is truly memorable, but none of it comes close to what was in his first two films. Despite lacking the shock and crazy of his first two films, Jackie Brown does prove that Tarantino can pile on the emotion and really hook us with a touching love story. You really root for the romance between Jackie and Max, a love that is really the heart and soul of the movie. It is like Tarantino revealing his softer side, something he doesn’t really seem to enjoy too much (just watch an interview with him). Dare I say that Jackie Brown makes us feel a little warm and fuzzy inside?
If the bloated plot of Jackie Brown begins to wear on you, you may find some relief in the performances, mostly the ones from Grier and Forster. Grier is in fine form as the sensitive but fierce Jackie, one tough mama who doesn’t put up with any of the torment dished out by Ordell. Age seems to be holding Grier back from really kicking ass and taking names but she is as sharp as a tack when it comes to staying one step ahead of everyone but Max. Forster is measured, gentle, and subtle as Max Cherry, the kindly bail bondsman who develops a crush on the curvy Jackie. You can’t help but love him as he jams out to crooning R&B classics in his car, music he heard from our badass heroine. Together, the form an unlikely romance but I suppose that opposites attract. Plus, you feel like Max really deserves this romance. Jackson tones down the intensity he brought to Pulp Fiction and brings a menacing cool to Ordell. Watching him manipulate the thugs around him will have your knuckles whitening, especially when he shows up at Jackie’s apartment to settle some business. DeNiro is quiet fun as the loose cannon Louis, a slouchy thug who never can resist the bong in front of him. He gets some great moments with Fonda’s Melanie, a perpetually stoned and horny beach bunny who is always taking too long to get ready. Keaton is on point as the hotshot ATF agent who is always chewing on a piece of gum. We also get a funny and jumpy performance from the rarely seen but always welcome Chris Tucker as Livingston. Tucker isn’t here long but you’ll certainly remember his character.
Even if things are a little too drawn out, Jackie Brown still manages to entertain you even in its slower moments. I really enjoyed the scenes where Louis and Ordell sat around and discussed firearms over beer and weed as Melanie rolls her eyes in boredom. These scenes crackled with Tarantino’s punchy dialogue and humor, his usual trademarks. I also enjoyed the way Tarantino laid out the climax of the film, dropping all of his characters into a busy shopping mall and letting them try to outsmart each other while the money bops around in a shopping bag. Then there is the final confrontation, which does flirt with Tarantino’s unpredictable flashes of violence and bloodshed. Overall, I do like Jackie Brown and I have to say that I did fall head over heels for Grier and Forster. I also love the idea that the film is a big fat valentine to Grier and her feisty roles from years past. Yet as a tribute to blaxploitation cinema, Jackie Brown is a little clunky. It seems to lack the sass of the blaxploitation subgenre. I give Tarantino credit for breaking away from his usual formula but Jackie Brown left me starving for his crazy side.
Jackie Brown is available on Blu-ray and DVD.
by Steve Habrat
For years, Quentin Tarantino has been hinting that he wanted to make a spaghetti western. He constantly gushes about Sergio Leone’s classic epic The Good, The Bad, and the Ugly (it’s his favorite film) and he even nabbed a bit part as a Clint Eastwood type gunslinger in Takashi Miike’s tepid Sukiyaki Western Django. We knew his take on the gritty western was coming but we didn’t know exactly when. Well, that long rumored epic he has been hinting at is finally here and I must say, I think Mr. Tarantino has outdone himself and delivered one of the finest films of 2012. Red hot with controversy (the N-word is used A LOT), Django Unchained is a firecracker of a film that finds the talkative director at his wildest and craziest. For years, audiences have been split over his kung-fu/spaghetti western mash-up Kill Bill, some saying he flew too wildly off the rails (I hear many describe it as “weird”) while others smack their lips at the cartoonish carnage. Me, I was all for a Tarantino western and I couldn’t be happier with the results. Yes, Django Unchained is a difficult pill to swallow with its harsh look at slavery but remember that this is Tarantino’s version of history and that alone should tell you everything you need to know about the film. Django Unchained is ultimately a valentine to a genre that Tarantino adores, which makes it easy to forgive some of the edgier moments of this masterpiece. I would go so far to say this is Tarantino’s strongest film and the one that seems to be the most alive with the spirit of 70s exploitation cinema. Maybe this should have been the film he made for his portion of Grindhouse.
Set two years before the Civil War, Django Unchained begins on a cold Texas night with a group of recently purchased slaves being transported through the countryside by the Speck brothers. As the group shuffles through the night, they are approached by Dr. King Schultz (Played by Christoph Waltz), a German dentist turned bounty hunter who is looking for a specific slave named Django (Played by Jamie Foxx). Schultz is hunting for a trio of deadly gunslingers known as the Brittle brothers and Django is the only one that can identify them. Schultz and Django make a deal that if Django takes Schultz to the Brittle brothers, he will help Django locate his long lost wife, Broomhilda (Played by Kerry Washington), who has been sold to a sadistic plantation owner named Calvin Candie (Played by Leonardo DiCaprio). As Schultz and Django bond, Schultz realizes that Django has a talent for the bounty hunting business and he begins showing him the ropes. The two form a deadly alliance that sends them to Mississippi, where they begin devising a way to infiltrate Candieland, Candie’s ranch that is protected by his own personal army and houses brutal Mandingo fights.
Just shy of three hours, Django Unchained covers quite a bit of ground during its epic runtime. It is jam packed with Tarantino’s beloved conversations, something that he knows he is good at and just can’t resist. The conversations are as fun as ever, but sometimes Django Unchained is just a little too talky for a spaghetti western. It is just odd to me that Tarantino would be making a tribute to spaghetti westerns and then never shut his characters up (For the love of God, his favorite movie is The Good, The Bad, and the Ugly!). I would expect someone like Tarantino to know that the gunslingers from Sergio Corbucci’s west sized each other up through razor sharp stares and not through constant chatter. No worries though, as I am sure that most audience members won’t pick up on this so it doesn’t really damage the overall product. Despite this minor nuisance, if you are a fan of westerns or exploitation cinema, you will be bouncing off the walls with delight. Tarantino zooms his camera in and out of action suddenly (it is hilarious every single time), getting right in a characters face or zooming out suddenly from a close up to reveal a jaw dropping landscape behind them. He laces his film with tunes from Ennio Morricone and Riz Ortolani, two instantly recognizable names if you’re up and up on your Italian westerns and cannibal films from the 60s into the 80s. When the gore hits, it is cranked up to the max. The blood often looks like the red candle wax goop that poured from gunshot wounds or zombie bites in the 70s. Hell, even Franco Nero, the original Django from the 1966 film (if you’ve never seen the original Django, you might want to get on that), shows up for a brief cameo! Are you exploitation nuts sold yet?
Considering this is Tarantino’s show, the performances are all top notch and instant classics. I was a little worried about Foxx starring as our main gunslinger Django but he is on fire here. He channels Eastwood and Nero’s silent heroes like you wouldn’t believe while also adding a layer of quivering mad sass to the character (Get a load of the delivery of “I LIKE THE WAY YOU DIE, BOY!”). I loved it every time Tarantino would zoom in to give us a close up of his scowling mug as it chewed on a smoke through tangled whiskers. He wins our hearts through his heartbroken stare and his determination to get poor Broomhilda back from Candie’s clutches. He instantly clicks with Waltz’s Schultz, a devilishly funny and clever bounty hunter who packs a mean handshake and can talk himself out of any situation. Waltz brings that irresistible charm that he brought to Inglourious Basterds and settles into the character quite nicely, a cartoonish cowboy who nabs all the best dialogue. When Foxx and Waltz are on screen together, the chemistry between them unbelievable. One is strong and silent, a pupil who is eager to learn and win back his life while the other is chatterbox joker who is deadlier than anyone could imagine. They alone will lure back for seconds.
As far as the rest of the cast goes, DiCaprio practically steals the film away from Foxx and Waltz as the bloodthirsty Calvin Candie. He is sweet as sugar one minute and the next, he is ordering his men to feed a terrified runaway slave to a pack of hungry dogs. You won’t fully appreciate the power of his performance until you get to the dinner sequence, which finds tensions rising to the point where Candie snaps and cuts his hand on a champagne glass. I honestly think he will earn an Oscar nomination for the hellish turn. Then we have Samuel L. Jackson as Stephen, an elderly house slave that spews more profanity than his character in Pulp Fiction. Along with Waltz, Jackson gets to deliver the feisty lines of dialogue and you can tell he loves every second of it. He disappears in the role to the point where you can’t even tell it is him. The role also serves as a reminder of just how good an actor Jackson truly is. Washington gives a slight and sensitive performance as Broomhilda, Django’s tormented wife. Keep your eyes peeled for an extended cameo from Don Johnson as Big Daddy, another wicked plantation owner who leads a bumbling early version of the Ku Klux Klan. Also on board are Michael Parks, Tom Savini, Jonah Hill, Bruce Dern, Franco Nero, and Tarantino himself, all ready to grab a chuckle from those who will recognize them.
As someone who has been a fan of Tarantino’s work for years, I have to say that I firmly believe that Django Unchained is his best film yet. It is unflinching with how it handles slavery while also staying shockingly lighthearted at the same time. It packs a gunfight that features more blood, guts, and gore than anything he threw at us in Grindhouse and it manages to tell a touching buddy story that creeps up on your emotions. I just wish Tarantino would have paid the extra dough and digitally scratched the film to make it feel even more like an authentic exploitation film. Overall, Tarantino proves that there is still some life left in the western genre and he gives it a massive shake up by fusing it to the blaxploitation genre. It may not be historically accurate but Tarantino has the good sense not to sugarcoat this dark chapter of American history. There are some tough moments but he never shies away from having fun and slapping a big smile right on your face. Long live Django and long live the spaghetti western. Django Unchained is one of the best films of 2012.
by Steve Habrat
Fresh off the success of the indie smash Reservoir Dogs and the vibrant script for True Romance, Quentin Tarantino returned to the big screen with a film that is widely considered the best film in his catalogue. To this day, Tarantino’s Pulp Fiction remains a funky fresh blast of hilarious pop culture small talk and teeth-rattling violence. Reservoir Dogs certainly introduced the world to the Tarantino style of filmmaking but Pulp Fiction is the film that opened the copycat floodgates. Drawing inspiration from pulp magazines that dominated from the late 1800s until the 1950s, Pulp Fiction is certainly a film that is worthy of all the praise that is still handed to it. It holds up to multiple viewings, the jokes land every single time, it finds John Travolta giving one of the best performances of his career, it features dialogue that still makes my head spin with delight, and it still makes me jump when old Marvin gets his noggin blown to pieces. To this day, I still find myself rediscovering little moments that I have missed or forgotten about as the years pass. Yet what makes the film so great is the way that Tarantino irons out his characters, letting them really open up to the viewer and becoming almost like long lost friends. You genuinely feel like you are hanging out at Jack Rabbit Slims with these cats. And then there is the narrative, a jumbled collection of puzzle pieces that are reluctant to reveal themselves fully to us.
Pulp Fiction introduces us to a number of thugs, lowlifes, and small time crooks, who all collide at some point in the two and a half hours it is on the screen. We meet two hitmen, Vincent Vega (Played by John Travolta) and Jules Winnfield (Played by Samuel L. Jackson), who are sent by booming mob boss Marsellus Wallace (Played by Ving Rhames) to retrieve a mysterious briefcase from a trio of low-level crooks. These two hitmen meet an aging boxer named Butch Coolidge (Played by Bruce Willis), who has a price on his head after he refuses to throw a fight that Marsellus Wallace payed him to throw, a duo of jittery thieves who go by the named Pumpkin (Played by Tim Roth) and Honey Bunny (Played by Amanda Plummer), the junkie wife of Marsellus, Mia Wallace (Played by Uma Thurman), a hot shot problem solver named Winston Wolf (Played by Harvey Kietel), and three sadistic redneck freaks, Zed (Played by Peter Greene), Maynard (Played by Duane Whitaker), and the Gimp (Played by Stephen Hibbert), who enjoy kidnapping strangers and then sodomizing them. What plays out is a number of gruesome showdowns, hilarious exchanges, and plenty of drooling over a glowing briefcase.
While every single moment of Pulp Fiction is juicy, Tarantino spins a web of moments that are consistently in competition with one another. Ask anyone who has seen the film to name their favorite moment for you and I promise that everyone will answer differently. There is the dance number in Jack Rabbit Slims, where Thurman and Travolta boogie down to win a twist trophy (Travolta still has the moves). There is the adrenaline shot to the heart to revive the overdosing Thurman that will have you watching through cracked fingers. We also have the sequence where Willis and Rhames stumble upon a trio of sodomizing maniacs, only to fight back with a samurai sword. Or how about the scene where poor Marvin “accidentally” gets shot in the head as Jules and Vincent debate a miracle that just happened moments earlier? While connecting the plot points is a blast, it’s the thoughtful sequences connecting everything together that are ultimately more fun to talk about. Personally, my favorite moment is the sequence where Vince and Mia chow down at Jack Rabbit Slims, talking about awkward pauses on dates, debating how good a five dollar milkshake is, evaluating Buddy Holly on his skills as a waiter, and finally getting up to participate in the twist competition. And I just love Thurman as she draws that dotted line square. It’s a pop culture loaded scene that really springs to life. Plus, it comes with a Vanilla Coke!
As always, I have to discuss the performances, which are the heart and soul of Pulp Fiction. Everyone just loves Jackson’s Bible quoting hitman Jules, a real spitfire with a jheri curl. His exchanges with Travolta’s drawling Vincent Vega will have you chuckling through the first half hour or so of the film. Travolta, meanwhile, hasn’t felt this alive in a role since Grease. In a way, you almost feel like Travolta was born to play the role of Vince and I must say that he really disappears into the character, a rarity for Mr. Travolta. And then there is Rhames as Marsellus Wallace, the furious mob boss who will be your friend one minute and your worst enemy the next. Willis is the underdog here as the scrappy boxer who will stop at nothing to get his father’s prized watch back even if it means risking his life. The sequence where he comes up against the three sodomizing devils will really leave a mark. Thurman shows up only a half hour but she becomes the face of Pulp Fiction. She is crazy, sexy, cool as she calls Vince “Daddy-O” and shouts “I say goddamn. Goddamn!” while powdering her nose. Tim Roth and Amanda Plummer are hysterical as two thieves who think they’re tough but quickly realize they are nothing when put up against Jules and Vincent. Harvey Keitel and Quentin Tarantino round out the cast later in the film as two problem solvers trying to help out our two lovable and blood drenched hitmen. Christopher Walken also gets a very fine cameo but the less you know about him, the funnier it is.
As Pulp Fiction coasts along on the surf guitars that rumble over the soundtrack, you begin to realize that the film is all about conversations. Sure, all of these conversations are basically references to other crime flicks and forgotten exploitation cinema but they all just seem so effortless. It is dialogue that just rolls off the tongue and will have you and your buddies quoting it for days. I suppose that you could describe the overall big picture here as effortless and suave. It never seems to be trying too hard and yet it is maddeningly cool. No character seems like they are just taking up space and there is no one scene that feels like it is dragging on too long. The first time I saw the film, I was a bit thrown off with Butch’s sequence in the middle of the film but this stretch has really grown on me after seeing the film as many times as I have over the years. I also love the way Tarantino really allows the soundtrack to shine. You can just visualize Tarantino at a jukebox sorting through these surf rock ditties and tapping his toes along to the beat. Overall, you’ll be grinning from ear to ear as Pulp Fiction rounds the home stretch and reveals how all of these characters are connected. You’ll glow as Tarantino skips through sleaze land and pays tribute to all of his interests in some way, shape, or form. Believe me when I say you will fall in love with Pulp Fiction, a hyperactive and playful masterpiece that still manages to be one step ahead of all the copycats. Oh, and feel free to leave your thoughts about what is in that mysterious suitcase.
Pulp Fiction is available on Blu-ray and DVD.
by Steve Habrat
In 1992, the world was introduced to a jive talking video store clerk turned screenwriter, director, and actor. He made the uptight film snobs squirm (he still does) with the way he borrowed from 70’s trash cinema and made those searching high and low for a sleazy thrill giddy with delight. His name is Quentin Tarantino and the film that shot him into stardom was the bloody crime caper Reservoir Dogs, a film that has to rank as one of the best films from the 90’s. Extremely controversial with its violence (Wes Craven reportedly walked out of a screening of the film) and unapologetically funny (the analysis of Madonna’s ‘Like a Virgin’) even if it is incredibly crass, Reservoir Dogs is a smoothing talking throwback that doesn’t hide the fact that it is borrowing from forgotten cinema. Reservoir Dogs is a film that sucks the viewer in instantly; ripe with fast-talking criminals dressed in too-cool-for-school suits and black Wayfarers. Classic tunes from the 70’s blare over the soundtrack as these crooks, who look more like a 50’s rock n’ roll band than a bunch of jewelry thieves, strut in slow motion through a parking lot. It’s the sequence that is the epitome of cool, my dear readers, and it merely is setting the stage. That is the best way I can describe Reservoir Dogs, as a super cool caper that has the power to disturb and tickle, sometimes at the same time. I should also note that the film is incredibly influential, despite what some may say.
Reservoir Dogs introduces us to six thugs, Mr. White (Played by Harvey Keitel), Mr. Blonde (Played by Michael Madsen), Mr. Orange (Played by Tim Roth), Mr. Pink (Played by Steve Buscemi), Mr. Brown (Played by Quentin Tarantino), and Mr. Blue (Played by Eddie Bunker), who are all gearing up for the perfect heist. They find a leader in Joe Cabot (Played by Lawrence Tierney), a cranky and gravelly-voiced gangster, and his son, “Nice Guy” Eddie (Played by Chris Penn). Together, they plan to rob a jewelry store and it appears they have every angle covered. But something goes horribly wrong and the heist becomes a scene of stomach-churning carnage. Four of the thugs escape to a hideout where they begin to suspect that one member of the group may be an undercover police officer. Meanwhile, the police are gathering outside the hideout, ready to take the group down by any means necessary.
The overall setup of Reservoir Dogs is a pretty simple one but the film sets itself apart by never showing the viewer the heist. We only see the chaotic aftermath of it, allowing our imaginations to run wild. The small budget prevented Tarantino from showing us the heist but the dialogue is pretty graphic in its description to the point where I wasn’t sure I even WANTED to see it. The aftermath is disturbing, with Mr. Orange severely wounded by a gunshot to the gut, an injury that has him bleeding all over the joint. He squirms and shrieks in pain as Mr. White tries desperately to reassure him that he isn’t going to die. Meanwhile, two other group members were wasted in a hail of gunfire and we learn that the psychotic Mr. Blonde executed a handful of innocent civilians (one being only a young nineteen year old). If the bickering and the withering Mr. Orange isn’t enough to upset the viewer, Tarantino then delivers a terrifying and darkly comedic torture sequence that finds Mr. Blonde slashing a captured cop up with a blade and then hacking his ear off. It is a sequence that reportedly made Mr. Madsen a little queasy when he was filming it, especially when the cop adlibbed “I got a little kid at home!” Mr. Tarantino goes for the throat and he never even flinches while doing it.
Savagery aside, Reservoir Dogs is loaded with explosive performances from almost everyone involved. It is constant tug of war between Madsen’s Mr. Blonde, a psychopath who enjoys torturing his victims before he puts them out of their misery and Keitel’s Mr. White, a fatherly figure who isn’t afraid to get a little nasty himself when his back is against the wall. Madsen steals the show with his steely glares and you’d never guess that he got a queasy tummy while filming the notorious torture sequence. And then there is Buscemi, a smart but wimpy gangster who smells something rotten in the group. Buscemi is the king when it comes to playing oily low lives like this and I have to say Reservoir Dogs finds one of his best performances. Roth sends chills down your spine as the wounded Mr. Orange, really doing a lot with a role that demands he lay on the ground and bleed out. It never gets any easier to watch him shriek in pain in the back of a car and wither around in agony. All I can say is I hope I never, ever get shot in the gut. Penn and Tierney bring plenty of hotshot swagger as “Nice Guy” Eddie and Joe Cabot. Tierney is especially intense as Joe, the glaring don who does put up with any shenanigans or backtalk for his team. Tarantino and Bunker do well with the small roles they have but I would have liked to see a bit more from their characters, especially Mr. Blue. Tarantino gives rich back-stories for the thugs yet he leaves out ones for Mr. Brown and Mr. Blue, which doesn’t really make any sense to me. The only theory I have is possibly the tiny budget prevented him from doing anything further with the characters.
Reservoir Dogs is the film that introduced the world to the “Tarantino style” of filmmaking, which includes drawn out conversations and colorful exchanges between the characters, use of ironic music, nonstop film references, and chilling bursts of violence. Some say that this style has ruined film (mostly film professors that are steaming mad over the fact that Tarantino never went to film school and educated himself on film by taking trips to the local grindhouse) and made it unoriginal considering that Tarantino enjoys nabbing his favorite scenes from old exploitation cinema and stitching them all together. I have to disagree that his work is unoriginal considering that he fashions these references into unique creations that could only come from Tarantino’s mind. I really don’t think anyone else could have made Reservoir Dogs as likable as it is and trust me; this film contains some seriously shocking moments that make it a tough pill to swallow. Overall, Reservoir Dogs is maddeningly simple, wickedly funny, and waiting to spring one hell of a twist on the viewer near the end of the film (trust me, the reveal is really awesome). It is best going into the film with as little knowledge of the film as possible and it is one that you won’t soon forget after you’ve seen it. Good luck listening to ‘Stuck in the Middle with You’ the same way ever again.
Reservoir Dogs is available on Blu-ray and DVD.
by Steve Habrat
Even though Quentin Tarantino did not direct the 1993 romantic thriller True Romance, one would swear that it was made by the vigorous film buff. Directed by the late Tony Scott and written by Mr. Tarantino, True Romance is a fast, funny, gory, and sexy tale about gangsters, drugs, pimps, comic books, Sonny Chiba, Elvis, and some of the strangest characters you are ever likely to see in a motion picture. Hot of the success of 1992’s indie Reservoir Dogs and made just before 1994’s star-studded Pulp Fiction, Tarantino’s script is a fiery blast of nerdy dialogue and fizzy romance matched up with an all-star cast (Christian Slater! Patricia Arquette! Samuel L. Jackson! Dennis Hopper! Brad Pitt! Christopher Walken! Val Kilmer! Gary Oldman!), who all give insanely memorable performances. You can feel Tarantino’s energy humming through the entire project but it’s Scott’s edgy and flashy directorial style that makes this nearly two hour film seem like it is only about a half-hour long. Seriously, I couldn’t believe how quickly this film moves and how short it actually felt. While True Romance is always fun and exciting, the film sadly looses a little steam near the climax. Maybe I was just fatigued from the Scott’s hyperactive style and Tarantino’s fast paced film-referencing conversations that led up to the final confrontation. I mean, did you ever think there would be a film that references both The Streefighter and Terrence Malick’s Badlands?
True Romance introduces us to comic book store clerk Clarence (Played by Christian Slater), a nerdy loner who attends a kung fu triple feature on his birth. While at the movies, he crosses paths with a beautiful blonde named Alabama (Played by Patricia Arquette). The two hit it off instantly over pie and conversations about Elvis, comic books, and kung fu. After a night of steamy passion, Alabama reveals that she was a call girl hired by Clarence’s boss as a birthday present but that she has fallen madly in love with him. The two marry and Clarence decides that he is going to seek out Alabama’s pimp, Drexel (Played by Gary Oldman), and let him know that his blonde bombshell is quitting. This meeting between Clarence and Drexel doesn’t go according to plan and Clarance ends up killing Drexel and accidentally leaving with a bag of stolen cocaine. Unsure what to do, Clarance seeks out the help of his estranged father, Clifford (Played by Dennis Hopper), and plans to flee to California. Hot on Clarence and Alabama’s trail is a gangster Vincenzo Coccoti (Played by Christopher Walken) and his sadistic enforcer Virgil (Played by James Gandolfini). Once they arrive in California and hook up with Clarence’s buddies Dick Ritchie (Played by Michael Rapaport) and Floyd (Played by Brad Pitt), things really get dangerous.
True Romance is loaded with juicy Tarantino moments, the ones where characters sit down to have a completely quotable conversation. You will be fighting off a grin during a diner conversation between Slater’s Clarence and Arquette’s Alabama. Comic geeks will swoon when Clarence takes Alabama to the comic shop where he works and they share a kiss over the first issue of Spider-Man. Fear not, folks, the great chatty moments don’t stop there. There is a hilarious scene where Hopper and Walken fire up cigarettes and have a war of words before one of them is staring down the barrel of a gun. And we can’t forget any dazed zinger that comes from Pitt’s Floyd. For as talky as True Romance gets, Tarantino and Scott deliver some seriously nasty moments of violence. The showdown between Drexel and Clarence will get the blood pumping something fierce with all its claustrophobic brutality while Alabama receives a vicious beating from Virgil, as he demands to know where the big bag of cocaine is hidden. And then there is the strangely beautiful gunfight at the end that has three groups going toe to toe as feathers and cocaine fly through the air.
True Romance may be a whirlwind of geeky chats and stomach churning violence, but it would be nothing without the oddball performances from its all-star cast. Slater is a knockout as Clarence, a comic and B-movie geek who finally gets the girl. His opening moments with Arquette are out of this world as they get to know each other over popcorn, pie, and Sonny Chiba. Arquette as a ray of sunshine with a violent streak, moved to tears when Clarence kills someone for her. Oldman gives a jaw-dropping performance as Drexel, the dread-locked pimp who chows down of Chinese while taking in The Mack. He taunts Clarence by calling him a “regular Charlie Bronson!” Walken gets a fine cameo as a soft-spoken gangster who cackles when Hooper insults him for his Sicilian background. It’s a small role, borderline cameo, but Walken nails it like he is the star of the show. Hooper leaves crazy on the shelf as Clarence’s father, a washed up ex cop who seems to be living a lonely existence with his dog in a rundown trailer. Pitt is absolutely hilarious as Floyd, a stoner rooted to the living room couch. He’s hysterical when he asks a handful of gangsters if they want to get high. Rapaport is his usual restless self as Dick Ritchie, an aspiring actor who is consistently exasperated with Floyd. And then there is Val Kilmer as Elvis, an apparition that appears and whispers words of encouragement to Clarence.
If you’re a cinema buff or a comic book fan, True Romance should be essential viewing for you. It’s consistently clever, retro, funny, pulpy, and heart pounding all while bopping along to Hans Zimmer’s score that pays tribute to Malick’s Badlands. When the film swaps the snowy streets of Detroit for the sun-kissed streets of California, the film looses some of the momentum it had gathered early on. The end showdown is visually thrilling and certainly a bloody, gory show, but the viewer is suffering burn out from the white-knuckle pace of the rest of the film to really appreciate it. Still, its worth catching True Romance simply to see this cast really let their crazy sides fly and it’s the true definition of entertaining. It’s also worth it to catch Pitt in a hilarious haze of marijuana smoke and lukewarm beers. Overall, its hard not to wonder what Tarantino would have done with the film had he directed it but Scott shapes all the action into a banshee of a thrill ride. Just make sure you keep a B-movie history book close by and you brush up on your comic knowledge. It will lead to a deeper appreciation of the film.
True Romance is available on Blu-ray and DVD.
by Steve Habrat
I wish that Martin McDonagh would direct more movies. We haven’t seen much of the Irish screenwriter and director since his small but darkly hilarious 2008 film In Bruges, the scrappy hit-men-on-holiday thriller that brought out the funnyman in Colin Farrell and Brendan Gleeson. In Bruges turned out to be one of the strongest films of 2008 but it was sorely overlooked when the “Best of the Year” lists were published. After a lengthy wait, we finally have Seven Psychopaths, the equally hilarious and shockingly gruesome send up of the gangster genre and Hollywood action vehicles. With the tongue and jaw of Quentin Tarantino and enough gore to make any member of the splat pack blush, Seven Psychopaths is a minor effort, one destined for cult popularity and late night viewings with your friends. To be fair, there is nothing wrong with its instant cult status but it certainly makes the film a bit alienating to the casual viewer. While there is plenty to love in Seven Psychopaths, there are a few little annoyances with the script that prevent it from achieving the greatness of In Bruges, but the star power is McDonagh’s greatest strength here and he more than allows Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson, and Tom Waits to unleash their inner freaks.
Seven Psychopaths introduces us to Marty (Played by Farrell), a struggling screenwriter with a massive drinking problem. He spends his days in sunny Los Angeles with his buddy Billy (Played by Rockwell), an unemployed actor who kidnaps dogs with Hans (Played by Walken), a seemingly mild mannered man with a violent past. Hans and Billy then return the stolen pups to their owners and claim the rewards. After Hans and Billy kidnap a Shih Tzu that belongs to unhinged gangster Charlie (Played by Harrelson), Billy, Hans, and Marty go on the run from the ruthless gangster who will do anything to get his dog back. Meanwhile, Marty is scraping for ideas for a screenplay he is writing called “Seven Psychopaths” and seeking out individuals who consider themselves “psychos.” Along the way, he encounters Zachariah Rigby (Played by Waits), who traveled around with his wife killing serial killers and a masked vigilante who targets high-ranking members of the mob. As all of their paths cross, the bullets begin to fly and dead bodies stack up.
While the script is packed with plenty of comedic banter between all these wackos, Seven Psychopath hits a snag in the way it chooses to handle some of the characters. Olga Kurylenko shows up briefly as Charlie’s girlfriend Angela and Abbie Cornish is the in the mix as Marty’s fed up galpal Kaya but neither are given very much to do. While the death of one of these female characters is used to comment on the way that women are handled in action movies (it is hilariously dissected), I would have really loved to see one of them get down and bloody with the boys but that never happens. There is also another main character that I think was grossly mishandled and should have played a bigger part in the film, especially after the taste that we get of him. It is tough to discuss these flaws because Seven Psychopaths is just loaded with twists and turns that add to the fun, especially with its characters. I also think that when the characters step out of the sunny Los Angeles streets, things don’t run as smoothly as McDonagh thinks they do. There is still something to be said about the way that McDonagh spirals towards the ending, teasing us with ideas of a grand gunfight and characters dying in a slow-motion hail of gunfire, all while doing it behind a never-ending sea of hysterical one liners to keep things playful.
Seven Psychopaths is never ashamed to be a bloody character piece, one that has plenty of emotion weight behind each character. Marty wins us over almost instantly as a scribe perpetually recovering from the night before, shaking himself out of a hangover with a freshly cracked beer. He is basically the only (semi) normal one of the bunch and his reactions to the sudden violence thrown into his world are insanely realistic and knee slapping. Rockwell continues to prove why he is a talent to be reckoned with as mile-a-minute Billy, the eager chum who wants so desperately to help with Marty’s new screenplay. McDonagh hands him all the best lines of the film and he’s the one who gets to rant and rave about how he wants their situation to end. Walken is his usual self as Hans, a crafty old bat who just wants to take care of his sick wife. At times, Walken seems to be playing a cartoonish version of himself but he has never been as bad ass as he is at the end of this film (his reaction to someone aiming a gun at him is classic). Harrelson is a welcome presence as lunatic gangster Charlie, who will do ANYTHING to get his beloved dog back. He flits between menacing and hilarious in the blink of an eye, bring that demented gleam in his eye that we saw in Natural Born Killers. Rounding out the main characters in Waits as Zachariah Rigby, who gets probably the most shocking sequence of the entire movie. His character is as inspired as they come and the way that McDonagh weaves history into his character is downright brilliant.
While In Bruges certainly had its fair share of blood, Seven Psychopaths brings the blood, the guts, and splattered brains. There are jolting fits of violence and sudden confrontations that would make Tarantino and Robert Rodriguez as giddy as as schoolgirls. The way that the film introduces us to each “psychopath” is also pretty inspired, some of them emerging from Marty’s own screenplay while others joining the “real world” madness. It may be gratuitous and it may be gonzo but Seven Psychopaths can catch you off guard with its serious moments, a trick that allows the film to linger a little longer than you may anticipate. Be prepared to be knocked down a peg here or there and be even more prepared to actually feel it. Overall, it may get a bit jumbled from time to time and you may need a second viewing just to put it all together (there are a lot of characters and stories here), but Seven Psychopaths is a witty and left-of-center comedic satire that, once again, leaves me wanting more from Mr. McDonagh. I just hope we don’t have to wait another four years for him to grace us with his presence. That is just too long to make us wait!
by Steve Habrat
Ever since Quentin Tarantino and Robert Rodriguez’s Grindhouse ripped through movie theaters back in 2007, there have been multiple attempts to emulate that film’s underground success. Far from a huge hit on release, Grindhouse found an audience in fans of cult cinema, trashy horror, and sleazy exploitation, and has since become something of an unsung classic. A classic that happens to feature melting penises, a serial killer who dispatches his victims with a hot rod, gooey zombies, and go-go dancers with machine gun legs. As a fan of that wasteland of cinema, I have praised Grindhouse for its attempt to transport its audience back to the good old days of sleaze and doing it quite well. Credit should go to Tarantino and Rodriguez, who did it with plenty of gusto and a strong understanding of what made those films so fun. The sleaze films they were paying tribute to weren’t perfect, but they had their hearts in the right place so it was easy to forgive them for the flimsy production value and shock tactics. While some of the copycats have been okay, there is one out there that should have never seen the light of day. Behold Chillerama, another attempt at celebrating sleaze and trash but going about it the complete wrong way. From the wrapped minds of director’s Adam Green (director of 2006’s Hatchet), Joe Lynch (director of 2007’s Wrong Turn 2: Dead End), Adam Rifkin (director of 1999’s Detroit Rock City), and Tim Sullivan (director of 2001 Maniacs: Field of Screams), this D-squad of B-movie fans try to recreate the glory days of the drive-in but end up with an insufferable stink bomb of a movie that complete misses the mark.
Chillerama begins on the closing night of the last drive-in in America. This drive-in, run by Cecil Kaufman (Played by Richard Riehle), is gearing up to show its faithful patrons one final night of long lost horror movies that are so rare, it is the first time they are ever being shown on American soil. As Wadzilla (a 50’s style giant creatures attack flick directed by Rifkin), I Was a Teenage Werebear (a 60’s beach party meets The Lost Boys directed by openly gay filmmaker Sullivan), and The Diary of Anne Frankenstein (an Ilsa, She-Wolf of the SS meets Universal Movie Monster knockoff directed by Green) roll on the screen, the audience members begin to suffer from strange symptoms that are turning them into sex-crazed zombies. As the place is overrun with the undead, it is up to Tobe (Played by Corey Jones), Mayna (Played by Kaili Thorne), Ryan (Played by Brendan McCreary), and Miller (Played by Ward Roberts) to band together and try to save the drive-in before it closes its doors for good.
Lacking the big name draw and subtle humor that Grindhouse had, Chillerama is trying so hard that it is almost painful to watch. It is riddled with nonstop movie references that are weirdly distracting or have absolutely no place in a film like this (What is with the Orson Wells nod?). Presented as a collection of short films (they all run about twenty-five minutes), Chillerama is preoccupied with being a relentless knee-slapping romp with so much strained sleaze that it seems like these guys are trying to convince us that they with can outdo what Tarantino and Rodriguez did. Unfortunately, they can’t nor will they ever be able to. The film begins with necrophilia and from there, the directors seem like they are locked in a gross-out competition rather than attempting to make a complete vision. Wadzilla finds its actors sprayed with gallons of fake semen while the homoerotic I Was a Teenage Werebear has a man killing another man with his erect penis. While exploitation films got weird (Have you ever seen Burial Ground?!), a little wild, and more than a little disgusting (Cannibal Holocaust anyone?), they were NEVER this cartoonishly foul. There was still a serious side despite the cringe inducing acting and the pointless nude scenes that filled out there runtime.
When you aren’t fighting back gags, you’ll find Chillerama is a severely disjointed and inconsistent thrill ride. Grindhouse benefitted from smooth sailing from the first frame of the Machete trailer to the final frame of Death Proof. There was never a dry spot in Grindhouse, although the argument could be made that there were a few slower moments, moments necessary to build story. Chillerama does have a bit of momentum in Wadzilla, even if it is a little too disgusting for its own good. It does have a few jokes that land and the hokey special effects really make the film what it is. It is the highlight of the picture but once we hit I Was a Teenage Werebear, things fly wildly off the rails and the handful of giggles that were found in Wadzilla evaporate from the screen. I have to give the idea credit, a beach party thrown by gay werewolves does sound pretty intriguing but the execution is such a disaster that you can’t wait for it to end. This short is done in by poor musical numbers that are eye rolling and severely unfunny. It also has tons of misdirected raunchy moments that blow up in its face. And then there is The Diary of Anne Frankenstein, which is a mind numbing monster movie that features its actors yelling gibberish while making contemporary jokes in a film that is supposed to be dated. Everything culminates with the idiotic orgy of Zom B Movie (directed by Joe Lynch), which finds gangs of sex crazed maniacs roaming the drive-in for an undead roll in the hay. It is here that Riehle gets to really cut loose but the amateurs around him keep things stuck in the entrails.
There really isn’t much to say about the acting in Chillerama. It is purposely “bad” but the irony is that it is really bad “bad” acting. As far as familiar faces go, outside of Riehle, the only other recognizable thespians will be Eric Roberts, Ron Jeremy, Kane Hodder, and Joel David Moore, all who should be busy scrubbing this filth from their résumés as soon as they get the chance (yes, even Ron Jeremy). The sets and production design are also pretty bad too, but I’m sure it was on purpose (at least I hope). It seems like the four fanboys who are responsible for this didn’t properly divide up the money and it appears as if I Was a Teenage Werebear got screwed, as it all takes place on the beach with barely a set to speak of. This might hit the funny bone for some but to me, Chillerama just seemed too disorganized, with four people pulling in opposite directions. Furthermore, not one of these men knows who to write a funny joke and should consider stepping away from comedy immediately. If you happen to be a fan of the Golden Age of Trash cinema, my advice is stay away from Chillerama. Instead, pop in your Grindhouse Blu-ray or consider revisiting your 42nd Street Forever Collection. Hell, go with the real thing if you must but just promise me you will never watch Chillerama.
Chillerama is available on Blu-ray and DVD.