death proof Tagged Articles at Cinematical

Opinion was divided last week in response to my suggestion that theater hopping be made legal. Most of the commenters thought I was an idiot, while the rest thought I was a Communist. In retrospect, I regret any disturbance I caused to the patrons in the three auditoriums that I visited briefly and illicitly; my apologies to those folks. I see nothing wrong or contradictory, however, with seeking ways to both improve the moviegoing experience and making it a better value for consumers. OK, wandering gangs of cheap, rude theater hoppers is not a popular (or even a good) idea. What, then? Why not bring back double features?

Of all the studios, it's Disney/Pixar that has released the first true double feature in ages: one ticket buys you admission to Toy Story and Toy Story 2 in 3-D during its limited engagement. Of course, these films already made hundreds of millions of dollars during their original theatrical engagements, plus untold millions from home video releases. Tickets for 3-D movies are also sold at a premium (an extra $3.00 in my area), so making them available for a few weeks as a double feature doesn't present as much of a financial risk for the studio.

Still, it's the thought that counts. Granted, the last time two films were released as a double bill, it didn't turn out so well on the financial side of things.

There are very few directors who know how to use music as well as Quentin Tarantino -- I can only think of one who might be just a little bit better. So while some directors let the music guide their editing process and others like to play the soundtrack while they shoot, Tarantino uses music in a completely different way. His use of music goes beyond just making a kick-ass soundtrack (which he usually does) and the song becomes another layer of movie history and reference that can inform what is right in front of your eyes.

As we all know, Inglourious Basterds is hitting theaters this week, and even though this might be one of Tarantino's first films without a 'popular' soundtrack, it did get me thinking about all the other great songs that he has included over the years. It seems that when it comes to music and Tarantino, obscure is the name of the game. The man likes to dig out those hidden gems, either to give them new life for a younger generation of fans, or maybe he just likes to show off a little -- come on, it's not like he's known for being humble. But one thing is for sure, the guy must have one hell of a record collection, and that's why today's Cinematical Seven is about my favorite songs from the films of Quentin Tarantino.

After the jump: find out which tracks made my top seven...

Growing up in Los Angeles as an admittedly shallow, callow youth in the 70s, I always wanted a stylish hot rod so I could attract the girls who liked guys in fast cars. Alas, I had to be content with puttering around in very practical, somewhat beat-up used cars (1964 Chevy Corvair, graduating to a 1965 Ford Falcon), but dreams die hard. Even though I'm still driving a very practical, somewhat beat-up used car, I still yearn for a sizzling hot motor vehicle and an attractive lady passenger urging me to go faster, faster.

These thoughts are prompted by the imminent release of the hot rod-loving Fast & Furious, due in theaters tomorrow, which features the return of the gorgeous Jordana Brewster and the equally lovely Michelle Rodriguez, two talented ladies who have a definite need for speed. (Oh, yeah, Paul Walker and Vin Diesel are back, too, and so is director Justin Lin.) In their honor, we present our seven favorite, fabulous hot rod girls.

1. Tracie Thoms, Death Proof

Tracie Thoms packs an unbeatable combination of brains, beauty, and bravado as Kim, a stunt woman in Quentin Tarantino's twisted ode to 70s car chase movies and 80s slasher flicks. Kim is rowdy and rambunctious with her girlfriends, but her hot rod heart starts beating fast when she revs up the engine of a borrowed 1970 Dodge Challenger, with Zoe Bell precariously perched on the hood. Smashing!

The other day, a blog entry from the cinetrix about "The Rule" evoked a flood of memories from my love-movies-hate-the-patriarchy college days. In 1989, my then-roommate's then-girlfriend showed me a comic strip from the series Dykes to Watch Out For by Alison Bechdel. The strip was called "The Rule" and it was about a character who explained that she only went to movies that met three criteria:

1. Two of the characters had to be women --
2. Who talked with each other --
3. About something other than a man.

Read the original strip for yourself. At the time, "The Rule" had a big impact on my life -- it explained a lot about what I found lacking in movies. I wanted to watch strong action heroines, but I also wanted to see movies with women who talked about ordinary stuff that didn't involve boyfriends or husbands.

Quick, what do H. B. Halicki and Louis B. Mayer have in common? They both went "from junk cars to movie stars" as the poster for The Junkman put it; both were scrap merchants who got into the film business. Wrecking shop owner turned auteur Halicki's homebrewed hit Gone in 60 Seconds led the 1999 remake by Dominic Sena, who reputedly worked on the original The Junkman as a camera man. The Junkman, the follow-up to the original 1974 Gone in 60 Seconds, is an even more extravagant car-cruncher. It's a film that makes Tarantino's great car chase in Death Proof look like an also-ran. (QT refers to this original by having Kurt Russell's character keep a row of sunglasses on his dashboard, just like Halicki did.) The Junkman is an all-out demolition derby with Hoyt Axton providing the vocals, a co-starring role by a pet pig named Farah and a finale with the Goodyear Blimp buzzing the Cinerama Dome. As the price of a gallon of gas reaches the inevitable $5 mark, let us return to this uniquely decadent actioner.

Quentin Tarantino's been talking up his WWII drama Inglorious Bastards for God knows how long. Last we heard he was buried in the script, with nothing concrete planned in the immediate future. Now, in a Cannes interview (via JoBlo), Tarantino has pronounced that he's finished a draft of the script (that was fast) and "if all goes well, I will be here, in Cannes, in 2009 with Inglorious Bastards."

Now, the only director I know who could take a largely uncast World War II movie from first draft to Cannes-ready cut in the span of 12 months is Steven Soderbergh, and he's busy figuring out what to do with Che. His prediction that he'll have Inglorious Bastards in next year's Cannes was, it seems to me, either hubris, excitement-of-the-moment hyperbole, or a straight-up lie. Still, the fact that he seems to be committed to doing this project -- or any project -- next is exciting in itself. I watched the standalone cut of Death Proof for the first time last week, and it's an astonishing piece of filmmaking. I think his work this century -- particularly Death Proof and Kill Bill Vol. 2 -- has been even more exciting than his legendary 90s stuff.

Inglorious Bastards will be about a group of Allied soldiers who volunteer for a suicide mission as a reprieve from execution for various misdeeds. Tarantino took the title from this 1978 Enzo Castellari film, though he doesn't intend it as a remake.

I loved Grindhouse. Well, I loved Planet Terror, loved the ads, and liked Death Proof. But I loved, loved, loved the Machete trailer. Being a huge fan of Danny Trejo, Machete gave me just what I wanted -- a silly movie focused on someone I love watching. Of course, after Grindhouse came out, there were tons of rumors about Machete getting his own feature film. Some believed it. Some didn't. I just hoped.

The other day, The Movie Blog threw up the poster to the right, which you can see on their site in all of its full-sized glory. Is this really an official poster for Machete? Is it really on its way? Was a script completed before the strike? I would hope that "yes," is the answer to all of those, but I'm trying to reign in my excitement for now.

In the meantime, we can fangirl and fanboy away. What do you think of the poster? Me, I like it, but it would lose a lot of its charm if its grainy artwork was shown on a shiny, slick new poster. My thought: keep it as-is, but send it to all theaters folded where the folds are, and printed without gloss. That would be sweet, but not as sweet as the decent man who was living a decent life, but now he is a brutal savage who must slaughter to stay alive!

Once again, Film Threat has released its annual list of the Coldest People in Hollywood -- the ones whose careers are in the most trouble according to them. Strangely, the actress I would have thought was the natural contender for #1, Nicole Kidman, only makes #6. Of course, if The Golden Compass is a huge hit, it'll reverse a string of box-office misfortunes. Film Threat's advise is for Kidman to seek a job on George Miller's projected Mad Max 4. Hilary Swank, star of a robust contender for worst of '07, is advised to choose her work with more care ("She may have grown up eating sawdust in Gooberville, Washington, or wherever, but it's no longer necessary to accept every script that comes her way"). And there's no arguments here with choices Eli Roth (#8), scandal plagued actress Vanessa Hudgens (above), and Jennifer Lopez ("there doesn't seem to be any measure that can stop her from making more bad movies."). Certainly, Natalie Portman (#41) deserves a remembrance for her dual role in Goya's Ghosts, not even mentioned in the citation.

Naturally, this list offers more bones to pick than a washtub-sized bucket of KFC. Jessicas Alba and Biel share #12 (hey, Jessica Biel can act, you ruffians!); Eddie Murphy (#16) who is still quite A-list, is derided for Norbit, a popular hit that had a few defenders. Quentin Tarantino (#22) is hardly out of the game, despite the mixed feelings people had about Death Proof, and Ray Liotta (#29) has a wicked cameo in a Top Five movie right now. Lindsay Lohan charts at #51 on a list of 50. Guys, where was Eddie Izzard on this list: Across the Universe and Romance and Cigarettes within months of each other! Film Threat's number 1 pick isn't even an actor, though I doubt if anyone feels like returning his phone calls right now. In the meantime, bad-film fans can wait breathlessly for the Golden Raspberry awards coming up later this year.

"Can it really be awards season already?" Our own Eric D. Snider asked that question when reporting that IFP (Independent Feature Project) announced the nominees for the Gotham Awards, honoring the best of indie films in 2007. And now the Alliance of Women Film Journalists (AWFJ) has announced their awards categories. AWFJ has two types of categories: the traditional "Best of" awards (film, director, actress, actor, etc.) are presented annually, but the "Special Mention" awards categories are "subject to change each year, depending on the list of films released during the year," according to their site. The awards aim to recognize "the amazing work done by and about women -- both in front and behind the camera."

Most of the categories from last year are back -- AWFJ Hall Of Shame Award(s), Actress(es) Most in Need Of A New Agent, Best Of The Fests, Movies You Wanted To Love But Just Couldn't, Best Depiction Of Nudity or Sexuality -- but seven additional categories have been added for this year's awards. Three of them sound generic: Unforgettable Moment , Cultural Crossover, Bravest Performance. Actually, "Unforgettable Moment" could be cool if it recognizes an isolated scene of genius in an otherwise horrible film, but what constitutes a "Bravest Performance"? Acting without make-up? Risking your life to do a stunt, a la Zoe Bell in Death Proof?

I really love the other four new categories, though: Sequel That Shouldn't Have Been Made (there are so many candidates, how will the AWFJ narrow them down?), Best Leap from Actress to Director (I'm looking at you, Sarah Polley!), Best Seduction and Most Egregious Age Difference Between The Leading Man and The Love Interest. Not to play the sexist card, but the latter two categories -- especially the "Age Difference" one -- would never be considered by a male-dominated critical group. Here's hoping the awards will call attention to lesser-known, quality films and the women that make them.

Dark Horizons has spotlighted an interview with Quentin Tarantino that will have geeks everywhere bemoaning what might have been. Tarantino has turned down an offer to direct an episode of the hit NBC drama Heroes. His reason? He doesn't know what Heroes is. QT told The Sun, "They were trying to get me to do one. I haven't even seen the f***ing show. What the f*** is Heroes?" Well Quentin, if you're reading this, you ain't missing much. Heroes is probably the most overrated show on television right now. Somehow, it has captured the love of critics and audiences alike, but I watched the entire first season and found it punishingly dull. I know, I know, chew me out. I just don't get it.

Film directors dabbling in television has become quite the trend lately. The great Spike Lee directed the pilot of Shark. Kevin Smith directed the pilot for the soon-to-premiere (and very good) Reaper, and will write and direct an episode of the Heroes spinoff Origins. Tarantino is no stranger to television either, having shot episodes of both CSI and ER (maybe that's why he wasn't interested in Heroes -- he only does shows with initials for titles). I was about thirteen when Pulp Fiction was in theaters, and though I begged my parents, they wouldn't let me see it. I remember sitting down to watch the QT-directed ER (still the only episode of that show I've seen), trying to convince myself that it would be just as cool. Not quite. If you want your Heroes fix, the second season premieres Monday. If you want your Tarantino fix, the expanded version of Death Proof is in stores today.