Planet Terror Movie Review
Date Defended: April 24, .. , and Planet Terror ) and children's films (the Spy Kids series Specific trailers for the Latino market focused. Rodriguez's gory zombie Grindhouse tale. Read Common Sense Media's Planet Terror review, age rating, and parents guide. Videos en español · Nuestras reseñas · Nuestra misión · En las noticias · Colaboradores · Recursos educativos · Latino Articles in English . Official trailer Stay up to date on new reviews. Quentin Tarantino and Vanessa Ferlito in Grindhouse () Robert Rodriguez in .. The films are joined together by clever faux trailers that recall the '50s.
Harvey Weinstein did not want Rose McGowan to be cast in the film, after he allegedly sexually assaulted her years earlier and then blacklisted her from being in any Miramax-related movies. Robert Rodriguez was dating McGowan and cast her knowing that it would enrage Harvey and also that Bob Weinstein would make Harvey get lost if he tried to screw with his Dimension label releasesthough Rodriguez later said that Harvey deliberately slashed the ad budget for the film in a successful effort to hurt it at the box office.
McGowan accused Rodriguez of exploiting her, but Rodriguez—while being supportive of McGowan's statements about Harvey Weinstein—noted that she signed on to the script that was filmed, and that sequences where McGowan's character was threatened with sexual assault were there to then set up her attacking and killing predatory men.
Special effects[ edit ] The film uses various unconventional techniques to make Planet Terror appear more like the films that were shown in grindhouse theaters in the s. Throughout the feature and the Machete trailer, the film is made to look damaged; five of the six 25, frame reels were edited with real film damage, plug-ins, and stock footage.
During post-production, the effects teams digitally removed McGowan's right leg from the shots and replaced it with computer-generated props—first a table leg and then an assault rifle.
During shooting for these scenes, McGowan wore a special cast which restricted her leg movement to give her the correct motion. But it's really interesting because after the missing reel, you don't know if he slept with a girl or he didn't because she says he did and he says that he didn't.
It leaves you guessing, and the movie still works with 20 minutes gone out of it. We've got to have a missing reel! The late second acts in movies are usually the most predictable and the most boring, that's where the good guy really turns out to be the bad guy, and the bad guy is really good, and the couple becomes friends. Suddenly, though, in the third act, all bets are off and it's a whole new story anyway. Inspiration for his score came from John Carpenterwhose music was often played on set.
A soundtrack album was released on April 3,alongside the soundtrack for Death Proof. Grindhouse film Planet Terror was released in the United States and Canada alongside Death Proof as part of a double feature under the title Grindhouse. Both films were released separately in extended versions internationally, approximately two months apart. So you are kind of trying to teach us something else. The official theatrical version features a snippet of Tony on the beach after the end credits and snippets of scenes from this version appears on Rodriguez's 10 Minute Film School feature on Planet Terror DVD.
Rodriguez mentioned that this version is especially made for his son Rebel, and has shown Rebel the film with the happy ending rather than the version where he is dead. Nostalgia for disrepair The nostalgic embrace of a dissolving image is what Grindhouse works to achieve through its loving simulation of disrepair, both in its structure and most evocatively in its digital distressing of the image.
Tarantino and Rodriguez each approached the concept differently. In contrast, Rodriguez worked with a digital effects team to lift various kinds of damage residue from existing prints and then painstakingly manage the wear and tear of the film, moment by moment.
Yet another harsh splice and more blank screen brings us into a badly damaged trailer for Machete, directed by Rodriguez.
Nostalgia is a complex subject, no less so when discussing a film such as Grindhouse, which like many nostalgic texts seems to encompass both ends of what Paul Grainge has described as a spectrum ranging from nostalgia as mood to nostalgia as mode.
Desperado  or Sin City  appears to suffer from historical amnesia, stylishly serving up a bouillabaisse of history for the eager viewer.
Grainge describes this nostalgia as mode, writing of its relation to mood: In neither of these films, Jameson argues, does the past represented critically engage with the present in which it is consumed.
All is superficial aestheticization of the past. At times one could be forgiven for thinking that what we have here is simply more of the same energetic pop-culture petty larceny.
Furthermore, he allows no possibility that an aesthetic of nostalgia might do anything but regressively appropriate historical narrative. What of using nostalgia to produce critical historical narrative? To show this critical nostalgia at work in Grindhouse, we must consider more closely the digital and manual effects the film uses to create the sensory impression of a badly degenerating 35mm print.
The effect, for a contemporary viewer rarely exposed to prints older than a couple of months, is a startling reminder. Reels appear badly scratched, frame drops create jumpy transitions, patches of the film are bleached and tinted, and the sound particularly unsettling for a viewer accustomed to multiplex Dolby crispness is often muddy and distorted.
Film history results from the excavation of that decay, for without film disintegration there would be no film history. The Karen Carpenter Story Grindhouse replicates the fate of images that have not been reserved for time everlasting but have been cast aside and are out of time.
Time is a central measurement in the modern theatrical marketplace.
"Grindhouse" text version
Aside from those, the educational film market where distributing on film is less and less common and drive-in exhibition, which in some places still serves as a second- or third-run venue, are the only vehicles where the average filmgoer today is exposed anymore to film prints that have noticeably degenerated.
The apparent damage done to the Grindhouse print is, in one sense, a nostalgic reminder of a previous industrial model, a less perfectly late capitalist Hollywood, when the theatrical release was not primarily the opening act for the home viewing market.
It is a fact Hollywood wishes we forget. Perverse spectators at the grindhouse Working in tandem with the nostalgic look and structure of the film is a second level of nostalgia for grindhouse spectatorship, displaced onto its cheesy, outmoded depictions of race and ethnicity.
To understand this level of nostalgic discourse, we must first take a closer look at how the multiplex viewing experience differs from that of the grindhouse. Yet while Staiger and Acland both point out the potential for perverse spectatorship in the mainstream movie theater, this potential pales in comparison to the range of perverse practices and experiences in all connotations of the word that make up the grindhouse.
The theatrical experience Acland portrays contrasts starkly with the grindhouse milieu Rodriguez and Tarantino wish to evoke. In the multiplex, standardization of start times encourages regular viewer turnover throughout the day and night, while fleeting theatrical runs provide only a brief window to see a film publicly, before it becomes a domestic activity. Despite the wide range of methods designed to promote bourgeois civility and discipline in the theater—the presence of ushers and security cameras, entreaties to keep feet off the seats, to not talk, to turn off cell phones—the faceless mass of servile consumers quickly breaks down through the varied and seldom-discussed practices of everyday moviegoing.
Here, cinemagoing is banal, it is erotic, it is civil, it is unruly; it is an everyday site of regulated and unregulated possibility. Predominately white and frequently upscale professionals like lawyers, these tricks earned a reputation for being obnoxious and unpleasant.
The hustlers who hung around at the Anco—trade that existed to finance their next blackout—were often killing time before starting their midnight-to-eight shifts at nearby all-male theaters. Latino junkies on the lam after a quick strongarm robbery slumped in the aisles, enjoying their nods relatively undisturbed. Professional black Deuce criminals—men who stole credit cards, pickpocketed wallets, and burned suburbanites with phony drug deals—also hid out, knowing no tourist would ever lead the cops in here.
It should be noted that the line separating empirical, historical reality from mythology is unclear here.
Planet Terror - Wikipedia
Sleazoid Express, like the Muller and Faris book Grindhouse mentioned earlier, is likely a somewhat exaggerated and romanticized account of the grindhouse experience, even a kind of tourism of the underclass. Consider that the grindhouse audience is typically discussed in terms of gender.
The location of grindhouse theaters in skid-row neighborhoods further discouraged female attendance.
The grindhouse as venue for unpoliced sexual activity is well-known, and the subset of hard-core grindhouse theaters has elicited scholarship on both straight and gay porn spectatorship. The book comprises two long essays.
The second part offers an extended analysis of valuable modes of personal interaction as expressed in Times Square and derailed by the destruction of the grindhouses and other businesses and the Disneyfication of the area.
He tells a similar tale of audience diversity: People would always go see it. Black guys, the Crips, yelling at the screen, all the Samoans there, people getting into kung-fu fights and shit…it was a blast. It was so much fun. Video has taken that away, a little bit… the communal aspect of it, the ritualistic aspect of it.
Tarantino is wrong when he singles out video for taking that sense of community away; the film theater itself in its contemporary form is just as much to blame. Grindhouse must therefore find an alternate means, as it does through its digital image degradation, to convey filmgoing practices lost to a transformed theatrical economy. The power of cheese As spectatorial heterogeneity and interaction common to the grindhouse has been suppressed in modern exhibition practices, Grindhouse has supplied its own sort of heterogeneity via its cheesy aesthetic and content, both in the text of its double feature and the paratext of its trailers and additional footage.
The disappearance of the especially cheesy paratext from the DVD release, however, signals that the film is ultimately still beholden to a Hollywood political economy that undermines such commentary. The recuperation of grindhouse in the video market, which followed the disappearance of the grindhouse exhibition circuit, and which ultimately fed the cinematic imaginations of Tarantino, Rodriguez, and Grindhouse, is indebted to the rise of cheese as a peculiarly lateth-century phenomenon of taste.
In my own experience, I have heard the term applied by students at both state and private universities, both prestigious and less so—though these classes have all been predominantly composed of white students. The ubiquity of cheese in our current culture, then, results from the constant, unresolved presence of cultural concerns over race, ethnicity, and national identity.
In short, the prospect of a Tarantino-Rodriguez double feature promises a veritable smorgasbord of cheese. The racial discourse of Grindhouse does continue the cheesy tradition of both directors but with some important differences.
Notably, though, little is made of these racial differences, either by the characters themselves or others. Julia's moniker, accompanied by an image of her lithe, prone body sprawled out on a bear rug, evokes a history of racist, sexualized depictions of black women, and yet the women in the car regard it with winking pride. Tarantino playfully nudges the portrayal of black women, especially in the blaxploitation films he loves, through the cheesy image, and the cheesy pleasure the characters and by extension the audience take in the portrait that sublimates racial inequities.
In the film's final scene, with the United States assumed to be decimated by the plague, Cherry and the other survivors are living happily in an ancient Mexican seaside ruin that is clearly designed to evoke Olmec or Mayan architecture.
The conclusion casually suggests the rebuilding of long-dead or -vanquished cultures, beyond colonizing influences.Planet Terror Trailer [HQ]
To cite another example, an early scene involves a generically Middle Eastern mercenary biochemical engineer played by Lost's [ABC, ] Naveen Andrew collecting the testicles of an underling. We later learn in a convoluted tale that a rogue lieutenant Bruce Willis killed Osama bin Laden unexpectedly in Afghanistan, and it's implied that the upper echelons wanted him to die a less mundane death,or perhaps not die at all. For his sins, the lieutenant is exposed to the deadly toxin created by Andrew's scientist.
Thus the cheesy Arab villain motif, with its imperial undercurrent, is turned into a swipe at the forces in charge of the current Middle East occupation. But the cheesiness of Grindhouse is shot through more than just the two features on its double bill.
Because of their compactness, the faux trailers and other footage that flank the features are even more pronounced in their cheesy sensibility. Nicolas Cage makes a cameo appearance as Fu Manchu, complete with Orientalized musical accompaniment; in the preview for Werewolf Women of the S.
Accompanied by easy-listening instrumental music and unappetizing photos of menu items, the ad subtly provokes anxieties over cultural hybridity and fidelity that are at the heart of cheesy consumption.
It concerns the eponymous adventures of a rogue Mexican federal agent played by Mexican-American cult actor Danny Trejo who is hired by a powerful man to kill a sitting U. The trailer builds to its climactic line: Except for the Machete trailer, which introduces the Planet Terror DVD, this flotsam that surrounds and contextualizes the two features is not to be found on the individual DVD releases.
The fact that the cheesiness of Grindhouse occurs not only in the texts of the features themselves but also in the paratext is an important distinction.