Watched Death Proof, Quentin Tarantino’s half of this summer’s grindhouse double feature. And while it’s easily dismissed as a homage to the low budget/high speed flicks of the seventies, it turns out to be a pretty decent movie on its own.
That is, if the viewer is not bothered by a simplistic script, profuse swearing, cardboard characters and bouts of ultraviolence. Fortunately, that’s not all there is, since the characters end up being a lot more than the initially apparent set of paper dolls, and camouflaging amongst the regularly repeated seven words you cannot say on television there’s long stretches of pleasant dialogue. The script doesn’t really get any better, and the violence is an integral part of the film.
So yeah, this is a simple film, and that is by no means a cause to disrespect it. Just tone down the expectations from a Reservoir Dogs/Pulp Fiction- level masterpiece, and all’s well.
But despite it being simple, it’s very much on the enjoyable side. It’s like a steak properly served in a posh restaurant – without garnish. There’s the main plot, and nothing else. And the plot servers a good ride – so a penchant for car chases should be added as a criterion, since they form a good slice of the movie.
The movie neatly simulates an old, badly worn copy. There are scratches and hairs on the film, color balance is a tad unstable, and missing frames are used as an excuse for not bridging scenes.
Apart from Kurt Russell as the badass stuntman, there are no major league stars in the cast. Of whom a lot seem to be present in the second half of the set, Robert Rodriguez’s Planet Terror. Which, unfortunately, doesn’t premiere here until late july.
And an even worse omission is the fact that the set of fake trailers for further grindhouse-mayhem shown inbetween the movies will most likely not see the silver screen in Finland.
And I so need to see Vanishing Point, referred to multiple times in the dialogue.