After Richie kills the bank teller they were holding hostage, the Geckos capture the Fuller family, consisting of Jacob (Harvey Keitel), Kate (Juliette Lewis) and Scott (Ernest Liu), and force the family to escort them to Mexico. Seth Gecko (George Clooney) and his brother, Richie (Quentin Tarantino), are two bank robbers trying to get to Mexico, so they can reach their contact following a job gone wrong. So what happens when the visual language of Robert Rodriguez and the snark of a Quentin Tarantino script come together? You get one of the oddest and most visually stunning vampire films of the past 20 years. As the years go by, vampires have changed considerably with the time, depending on the director, screenwriter and culture in which it was made. As much as it might not seem like it goes with the others, there's a good reason that it's Leonard's favorite adaptation of his own work.By Elizabeth Esten Vampires have been prominent figures in the pop culture lexicon since the Universal horror films of the 1920’s and 30’s. With "Jackie Brown," Tarantino showed that he could tell a slightly more focused, smaller crime story that didn't necessarily have to sprawl out into a nonlinear epic. There's no over-the-top excessive violence, the story's told completely in order, and, perhaps most unusual for Tarantino, it stands as the only time that he's adapted a novel, Elmore Leonard's " Rum Punch," for the screen.īut that's also what's great about it. Sure, it's got plenty of the same kind of references to '70s music and cinema that you see in his other films - including casting the legendary Pam Grier in the title role and setting the title in the same typeface as Grier's blaxploitation classic, "Foxy Brown" - but beyond that, there's very little linking it to his other movies. On its own, "Death Proof" has a lot going for it, but in its original double-feature release, "Planet Terror" just makes it seem slower, smaller, and a lot less fun.īeyond that, it's so markedly different from his other films that it can't help but seem like the one that doesn't quite fit. Unfortunately for "Death Proof," Rodriguez's half of "Grindhouse" wasn't quite the throwback that Tarantino's was. " Planet Terror" moves fast, goes way over the top with its ludicrous zombie violence, and features some of Rodriguez's funniest comedy moments to boot.
#QUENTIN TARANTINO DUSK TILL DAWN CAST MOVIE#
And that twist ending, where the horror movie suddenly becomes a hilarious slapstick revenge movie? That's pure Tarantino having a ton of fun. It's not just talky and violent, it's talky and slow in the same way that, say, " Two Lane Blacktop" and "Vanishing Point" were talky and slow.
When Tarantino and Robert Rodriguez set out to pay tribute to the grindhouse double features of the '70s, Tarantino's half was a note-perfect recreation of those movies, warts and all. It's perfectly fine, but it plays up Tarantino's tendency toward references and homages and winds up feeling pretty slight, especially when it's compared to the segment that immediately precedes it: Robert Rodriguez's "The Misbehavers." That one winds up being the true standout, marking the first time that Tarantino would wind up being overshadowed in a collaboration with Rodriguez, but certainly not the last.īut that's the big trick to "Death Proof." For a movie released in 2007, it seems to bounce back and forth between ponderous narrative and lurid high concept, but for good or ill, that's all on purpose. The problem is that it's not great, either.
Tarantino was (and remains) the biggest filmmaker involved, having just come off the massive mainstream success of "Pulp Fiction," and as a result, he got the prime spot as the writer and director of the movie's final segment, "The Man From Hollywood." It's not bad, either, with Tarantino loosely adapting Roald Dahl's "The Man From the South" - once used as one of the better episodes of "Alfred Hitchcock Presents" - as a fast-talking farce that skips out on the chills of the original in favor of a snappy punchline about Ted making the most of his increasingly surreal evening.
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