Advertisements
    Advertisements
  • Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

  • Advertisements

“Ladies, That Was Fun”: What’s Happening Under the Hood in “Death Proof”…

Okay… Warren’s sending over shots, and you know the house rules. If he sends over shots, you gotta do them.

What?

Hey, them’s the rules, baby.

Warren says it, we do it!

I love that philosophy! “Warren says it, we do it.”

The filming of Kill Bill, Vol. 1 and Kill Bill, Vol. 2 took nine arduous months. There were a variety of reasons for this, most obviously that the film represented a departure from the stylistic sensibilities and aesthetic associated with Quentin Tarantino. A director best known for his snappy dialogue and vivid characters was pushing himself outside of his comfort zone, building a movie that would incorporate elaborate action sequences and even an animated interlude. In fact, the films came after something of a short break in the director’s career. The six year gap following Jackie Brown was the longest in his career to that point.

As shooting was winding down, an incident occurred on the set. Details of that incident would not be made public for more than a decade and a half, although it would have a profound impact on all involved. By all accounts, Tarantino pressured Uma Thurman into driving a stunt car herself, leading to an accident. Thurman recalls, “The steering wheel was at my belly and my legs were jammed under me. I felt this searing pain and thought, ‘Oh my God, I’m never going to walk again.’” Thurman was not paralysed, but she was scarred by the experience, with a “permanently damaged neck and […] screwed-up knees.”

It was an act of reckless malfeasance from a director who had – with Reservoir Dogs and Pulp Fiction – announced himself as one of the preeminent directorial voices of his generation. Tarantino is remarkable among directors of his generation for establishing a cult of personality, being as effective on the chat show circuit as behind the camera. Tarantino has been known for making brass pronouncements and asserting his authority, from his famous assertion that he is god within his fictional universes to his insistence on shutting down lines of questioning in interviews to rejecting reporters’ questions outright.

The case involving Tarantino and Thurman is perhaps more complicated than a lot of the similar stories of directorial abuse that have entered the spotlight since the #metoo movement rippled through Hollywood. This complexity is compounded by the fact that Thurman has publicly forgiven Tarantino for his part in the accident, and for Tarantino’s contrition on that point. (Tarantino’s public support of progressive causes like Black Lives Matter also plays a part, even if there is still a larger debate to be had about Tarantino’s relationship with African American culture.)

Even if none of this was made public until after the release of The Hateful Eight, these details hang over a lot of Tarantino’s work since the accident. Tarantino has conceded, “Beyond one of the biggest regrets of my career, it is one of the biggest regrets of my life.” It is notable that Tarantino had always been particularly close to Thurman. The story for the Kill Bill films is credited to “Q and U”, the pair practically living together during the development of the story. (Tarantino allegedly promised the script to the actor as a thirtieth birthday present.)

The tragedy echoes through a lot of Tarantino’s subsequent work. It is notable, for example, that a lot of Tarantino’s later work focuses explicitly on the idea of rewriting history. Inglourious Basterds famously offers an alternate ending to the Second World War, a striking piece of historical revisionism. There are also shades of the tragedy to be found in Once Upon a Time… in Hollywood, which features two protagonists that are – to quote actor Brad Pitt – “two sides of the same coin.” Rick is a washed-up has-been who worries he is out of touch. However, his best friend is a reckless stuntman who may have killed his wife.

A lot of the discussion around Once Upon a Time… in Hollywood has likened it to Inglourious Basterds. This makes a great deal of sense. Both stories are effectively historical revisionist fairy tales. Notably, the opening chapter of Inglourious Basterds is even helpfully subtitled “Once Upon a Time in Nazi-Occupied France.” It is a logical point of comparison, but one that conveniently glosses over an even more obvious reference point for Once Upon a Time… in Hollywood within Tarantino’s filmography.

That point of comparison is Death Proof.

Continue reading

Advertisements

Non-Review Review: The Christmas Chronicles

The Christmas Chronicles is corny, clumsy, cheesy. It is more than a bit naff, to the point that it frequently seems to run on naff.

It is not especially inventive or creative with its premise, and often seems to have opted for the easiest manner of jumping from one set piece to the next. The Christmas Chronicles is incredibly broad, to the point where it even includes a weird castration joke about a computer-generated elf wielding a chainsaw in what had been (up until that point) a completely non-lethal. The film takes a fairly standard Christmas movie premise – what if a bunch of kids have to work with Santa to save Christmas? – and goes through the motions with it.

No Claus for concern.

Truthfully, that is about enough. It isn’t just that Christmas is a time for generosity and cheer, it is that Christmas is also a time to welcome very simple and very striaghtforward entertainment designed to be consumed by families with across a broad range of ages, in varying degrees of consciousness and sobriety. There is a time and a place for the broadly-drawn hijinx that drive The Christmas Chronicles, and Christmas itself would seem to be it. It is an affectionate old-fashioned family movie throwback to a time when emotional arcs could be drawn in crayon and a handful of creative juxtapositions could sustain a film.

The Christmas Chronicles pulls it off. Just about.

Filed by letter.

Continue reading

Non-Review Review: The Thing (2011)

The reflexive reaction to a film like the 2011 version of The Thing is one of scepticism. There’s something very strange about seeing a movie that had been relatively unloved on initial release garnering the remake/prequel treatment, an attempt to cash in on its cult success by turning it into a franchise. And, to be fair, a lot of that cynicism is justified by The Thing. There are times when it seems like – despite the obvious affection for the original horror master piece held by the writers and the director – that nobody really has any idea why John Carpenter’s The Thing has become such an iconic piece of cinematic horror.

There are some nice touches here, and it seems like director Matthijs van Heijningen Jr. is genuine in his love of the classic body horror. Unfortunately, it feels like the finished product is more the result of mechanical number-crunching than honest enthusiasm.

All fired up...

All fired up…

Continue reading

Non-Review Review: The Thing (1982)

John Carpenter’s The Thing is almost the perfect late-night Halloween viewing experience. It’s one of those movies that is gloriously trashy entertainment, with any number of visceral thrills, but also more deeply unnerving. Updating the 1951 The Thing From Another World, and arguably remaining truer to the original story, Who Goes There?, John Carpenter’s adaptation perfectly captures the unnerving paranoia of a world where there’s no promise that anybody is exactly what they claim to be. In space, nobody can hear you scream, but your odds aren’t too much better in the white Antarctic tundra.

What sort of Thing could do that?

Continue reading

Non-Review Review: Executive Decision

Are you manly? I mean really manly? In a way, Executive Decision is kinda what I was hoping for when I heard about The Expendables. It’s not an excellent movie, or even an exceptional one – in fact, it can be cynically described as Die Hard on a plane” – but it’s a perfectly serviceable action movie that gets bonus points for never trying to be anything more than what it is. There’s not tangential romantic plot or half-hearted attempts at characterisation: the movie is all business. And that business is attempting to give its audience testosterone poisoning. 

Not quite plane sailing ahead...

 

Continue reading