Planet Terror: Final Girl Film Club

March 1, 2009 · Comments Off

Welcome to Part 1 of 4, from the Grindhouse series of posts.

X – WARNING – MAJOR SPOILERS – X

(I review the entire movie scene by scene, w/ accompanying stills)

Scene 1 – Go-go, not Cry-cry

The double feature opens with grindhouse-like motion graphics and sidescrolling “Grindhouse” title graphic before a smash cut to Cherry Darling dancing on stage at a go-go club. During the mesmerizing sequence, Rodriguez uses a special lense or post-pro effect to give some of the shots a warp effect between the subject and the frame. Cherry’s dance moves are cut to match (mostly) the soundtrack which is the go-go(?) version of the film’s theme song. The dizzying camera movements and use of reflections help pull the audience into the film.

Upon walking home from work, Cherry avoids being run over by falling onto some roadside trash. She gets a piece of glass lodged in her leg, foreshadowing a certain injury she will receive later. What were those trash cans doing out in the middle of nowhere by that streetlight? lol.

Scene 2 – Where’s the Shit

The deal-gone-bad scenario is campy but it helps establish the film’s satirical take on old action / horror films like Umberto Lenzi’s “Nightmare City.” As soon as things take a turn for the worse, it gives Greg Nicotero the chance to show off some practical face melting effects, which are awesome.

Bruce Willis’ CG-enhanced face bubbling effects are nearly photo-realistic. The gunplay is very arcade-shooter oriented, with some ridiculously over the top squib explosions that have me standing and cheering everytime I see them.

Scene 3 – The Bone Shack

Transitioning to the next scene with a seamless pan from Abby’s escape to an aerial establishing shot of the Bone Shack, the bright neon sign and synth version of the main theme compliment each other nicely. As much as I love the Bone Shack set, it really is designed oddly. Two lonely gas pumps at the foot of some questionable stairs leading to a makeshift bbq diner / barn. The problem here is that having alot of customers entering and leaving the place, for gas or w/e like a busy gas station usually is, would seem unrealistic. Because of that, there isnt much going on in the scene and leaves future scenes at the Bone Shack seem bare. I can’t say that I was impressed with the stunt casting of Fergie, especially with the awkward “Now how did you know that?” line.

Scene 4 – I’m gonna eat your brains and gain your knowledge

I effin love this shot.

The box of Great White Bites, carton of milk, Rebel’s hair, the huge curlers, the brick oven, and the vintage blender all make this feel like a retro commercial or something. The subtle misdirection of Bill almost catching Dakota’s texting, only to be handed a cup of coffee is a nice touch. The point is defeated though when Dakota tries to sneak her cell into her purse in plain sight of Bill. Bill casually hints at his suspicions by asking his son if he believes his moms lies, to which his son answers “No.”

Scene 5 – El Wray

Wray runs into Cherry and the two exchange words, giving the audience some insight into their past. Rodriguez crafts the dialogue around the end of their relationship and the relevance of the jacket Cherry is wearing without boring us with uninteresting details. The medium shot of the guys and dog turning to look at Cherry is cute.

Scene 6 – Chronic Herpetic Lesions

The Block’s arrive to work and one of the local’s show up with a bite. Which, leads to what is probably the most disturbing imagery throughout the film, when Dr. Block’s colleague points out some photo’s he is studying. The gore envelope is pushed a little further with the black abscess tongue application, that squirts out onto Dr. Block’s glasses, no doubtedly causing the audience to vocalize their disgust. (Which is capitolized on with the “Audience Reaction Track” bonus feature.)

I know Tarantino worked closely on the production, so I’m wondering if he had anything to do with this shot, cause it reminds me alot of the tight close-ups from Kill Bill for some reason:

Scene 7 – Roadkill

The radio DJ dedicates a song to Jungle Julia “in loving memory”, not only indicating that both Grindhouse films take place in the same world, but that the events of Death Proof took place beforehand. The boobshot close-up tally is stacking up. Who, btw, wouldnt stop for a hot hitchhiker? Tammy is dragged off just as Wray and Cherry pass by in time to look on in disgust with the impression that she is a deer. This causes Wray to bring up a trivial conversation piece which will be directly related to his following action. Raising the production budget slightly higher, is this all too brief mounted rolling shot:

Scene 8 – No-Brainer

Sugar glass thermometer? Fergie’s bust really looks outstanding and had me scrubbing frames for CG tells. The backside looks just as awesome, as well:

Bill confronts Dakota about her ex being in town, in which a clever set of exchanges are made between the two involving needles and cellphones. All of which leads up to a somewhat intense set giallo-ish shots, only to be cut off abruptly. Keep your eyes peeled for the closing door / curtain wipe transition.

Scene 9 – Colorful Language

Wray is brought back to the station and Tolo’s finger is bitten off by a “sicko.” As he reaches out for his wedding ring, Rodriguez cuts between a series of shots focusing on the ring, which is slightly awkward.

I’m not sure if the shots were a reference or a scare tactic, but they failed as a scare tactic if that is the case. Maybe it was only meant to server as a distraction from the zombies that were surrounding the officers, unnoticed until the attack.

The incredibly explosive squibs become even more awesome when combined with limb targeting, which actually helps the body parts being blown off look spectacular.

As for character dynamic, Sheriff Hague’s aggression towards Wray could have been toned down a little. The sheriff seems to be way too concerned about someone who was in a car accident where a weapon was found, as if he suspects Wray of cutting off Cherry’s leg for some reason.

Scene 10 – Self Preservation

Bill gets a face full of gooey deliciousness.

Scene 11 – Pack Mule

In addition to using degradational effects to make the film look more like a grindhouse film, Rodriguez takes the technique a step further by increasing the frequency of the effects whenever the intensity of the scene spikes.

As it has the potential to cause a mental or physical reaction from the viewer, such as anxiety or fear, it also creates an opportunity to adjust the lens effects and flash some lighting that compliment the shots, which would otherwise seem illogical.

Scene 12 – Spilt Milk

Dakota crashes her way through a 2nd story window out to her car, followed by a few shots, again, reminiscent of Kill Bill (with the whole, getting body parts to function for the ability to drive, thing.)

Robert opts for a wide aerial shot as Dakota slams into cars on her way out of the parking lot, which makes it seem dull. I would have liked to have seen Dakota struggling to steer the car and maybe some reactions from nearly missing Wray’s wrecker, as some zombies got plowed into. I think it would have helped ramp up to the action in the shots that followed.

Wray slashes his way through the hospital after being denied a firearm. Again, it might be the excuse for Wray to do the slash dance, but I find the sheriff’s attitude to be more of a flaw in the script than anything. Wray’s weapon wielding murder circus dance moves are flashy, but when seen out of context in the trailer, it seems like it might have attributed to turning away potential ticket buyers. It just comes off, in the trailer, as a bad action stunt. The part where he slices the neck and leans back to avoid getting sprayed was pretty sweet though. Also, the CG work on Cherry’s leg was pretty amazing:

Scene 13 – The Crazy Babysitter Twins

Just for the record, they were 21 when the film was released.

That being said, this is my second favorite scene in the movie. Dakota’s mascara has turned into warpaint…

…the twin babysitter’s are hot, the tree’s in the background look amazing…

…the babysitter’s flip out and attack the car…

…the girl on the car takes a hard dive. It’s all very awesome.

Scene 14 – All or Nothing Box

The sheriff deputizes everyone except Wray, of course.

Scene 15 – You’ll blow your own face off

In a seemingly random moment, Tony shoots himself. Why anyone in danger would leave their kid alone in a car, much less give them a gun, is beyond me.

On an incredibly interesting note, Rodriguez filmed an alternate version of the film where Tony lives throughout the film instead of dieing. That has to be one of the better alternate versions of a film I’ve heard of, well, ever. Money Shots:

The high spray patterns, and hair on the axe are a nice touch.

Scene 16 – Missing Reel

Wray and Cherry use their down time to do some PG-13 laundry, only to be interrupted by what is arguabley the best gag of the movie.

I however was pretty upset to find out that the epic zombie battle at the bone shack was skipped over. Ever worse, the missing reel from Death Proof actually exists, whereas this one does not. Way to drop the ball by copping out, there, Rodriguez.

As we return from the missing segment of the second act, we find out that Wray’s identity was revealed, and his real name is *gasp* …El Wray. Somehow, all of the other survivors made their way to the Bone Shack, including Dakota, who takes a moment to lose her sanity in this creepy shot:

Scene 17(?) – Zombie Seige

Tolo gets attacked in one of the best dismemberment shots since Day of the Dead, maybe. The overhead shot looks great and everything, but how much more awesome would a continuous 4 point close-up shot have been, with the camera arriving at each point as each part was torn off.

As everyone makes their stand against the zombie horde, Robert uses a crazy meandering shot that zooms in and out frantically, which I’ve been seeing alot of lately in video game cut scenes, aerial dog fights, etc.

Cherry makes a run for the wrecker aka KillDozer and Robert finally gets in tight for some close proximity action with the zombie’s and vehicles, like I was referring to when Dakota left the hospital.

Also, he finally starts to utilize interaction with the environment by having Wray shoot the gas pumps to kill some nearby zombies, which Cherry ends up driving back through and into the storefront of the Bone Shack.

Scene 18 – Aint no BBQ without cole slaw

Dakota regains her sanity and the babysitter’s apologize for Tony’s death as El Wray leads the way on a pocket-bike.

Scene 19 – Project Terror

We find out what the chemical is all about and that the survivors are immune. Tarantino makes his appearance and Rodriguez uses a degradation effect unlike the previous effects, which mimics color bleeding from the processing instead of wear & tear from the mishandling of reels.

During the escape, El Wray pulls a fast one and I remember the crowd’s reaction in the theater of “Oooohh” when that happened.

Wray and Abby corner Muldoon as his DC2 runs out and he mutates. Again, the reel effects start to intensify as Muldoon mutates uncontrollably:

Scene 20 – One Legged Stripper

The girls have a heart to heart while in isolation. Cherry does a bridge as an example of one of her useless talents, alluding to a certain rocket dodging shot.

Rodriguez goes for the gross-out juggular by melting Tarantino’s dick off, which leads to one of the best mutations, reminiscent of the work in The Thing.

El Wray equips her with the M4 Carbine leg, which is completely illogical, in true grindhouse fashion.. firing, reloading, etc.

Scene 21 – Reach Up

As everyone tries to make it to the helicopters, Abby is gets merc’d and the plans suddenly change now that the bio-chemical engineer is dead.

Cherry does her dance of death as the encore for her final act, in symmetry with the opening dance at the beginning of the film, making use of another useless talent. Which, is great and everything, except that it gets El Wray gunned down.

Skip mows down a group of sickos with his chopper, and the scene is often compared to the same scene in 28 Weeks Later, which cooincidently was released only a month later.

Scene 22 – Two against the world, Baby

Cherry gets a new leg upgrade and annihilates a sicko with it, even if his head did come back after it exploded The rest of the survivors are living it up on the beach, but for some reason the extras have to look away from the camera.

Finally, Rodriguez wraps it up quickly with a closing title card.

- Wes Fierce

Official HFM Rating:

(Read more about the rating system)

Bonus! – Continue to the next FGFC entry at: Final Girl Film Club: Grindhouse

The Final Girl Film Club, founded by Stacie Ponder, began on March 23, 2006. Stacie picks out a movie she’s never seen before to review by a certain day and everyone who participates gets to join the club. If it were a country club, HFM would be Happy Gilmore.

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