Grindhouse Full Movie Hindi Download

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Quentin Tarantino and Robert Rodriguez's homage to exploitation double features in the 60s and 70s with two back-to-back cult films that include previews of coming attractions between them.
A double-bill of thrillers that recall both filmmakers' favorite exploitation films. "Grindhouse" (a downtown movie theater in disrepair since its glory days as a movie palace known for "grinding out" non-stop double-bill programs of B-movies) is presented as one full-length feature comprised of two individual films helmed separately by each director. "Death Proof," is a rip-roaring slasher flick where the killer pursues his victims with a car rather than a knife, while "Planet Terror" shows us a view of the world in the midst of a zombie outbreak. The films are joined together by clever faux trailers that recall the '50s exploitation drive-in classics.
Relentlessly outrageous and always over the top, "Grindhouse" is not a film for the masses, but if you go in knowing what to expect, this is one blast of a thrill ride start to finish. As a tribute to the sexploitation films of the Seventies, the movie is wildly successful in recreating the drive in movie experience of that era, complete with scratchy picture, missing reels and tons of gratuitous anatomical shots, if you know what I mean. Gory and violent too, to the point of squeamish if you have a weak stomach, but even then, it's in an effort to outdo itself in scene after scene. Now for the life of me, I couldn't really tell you what "Planet Terror" was supposed to be about. It's got mini scenarios about a feuding husband/wife doctor duo, a reuniting of former lovers (Rose McGowan and Freddy Rodriguez), and lots of zombies. Bruce Willis turns up, but I can't say if he was a good guy or a bad guy. Lots of zombies too. There's so much going on, and one gets so mesmerized by Rose McGowan's amputated leg replaced by a stick and a machine gun that your rational mind has a little trouble keeping up with the sensory overload. Not to mention the zombies. The "Death Proof" segment is a bit more straightforward, and the title makes a whole lot of sense when put in context by Kurt Russell's character, Stunt Man Mike. Russell is maniacally effective as the thrill seeking lady killer, and the car chase scene has to be one of the best put to film. I could have done a lot less with the diner scene which seemed endless and virtually pointless, my mind straying to the one in Tarantino's "Reservoir Dogs", which worked a whole lot better for it's relationship to that story. Before I forget, Russell gets to ham it up with a real cheesy John Wayne impersonation in the early going, way before the Challenger ladies turn the tables on him. Up front and in between, we're treated to four movie trailers and that instantly recognizable 'Feature Presentation' music that was a mainstay of theaters back in the day. You couldn't get me to a drive in to watch any of this stuff when it was in it's prime, but today, reliving my youth, this stuff is a blast. The film gets a lot of mileage out of it's caricature of an era gone by, and that's the point, so you'll either get it or not get it, depending on your perspective. Oh yeah, my favorite grindhouse title of all time - "Sex Cures The Crazy" - never saw it, but still remember the title after almost forty years. Imagine the impact if I HAD seen it! Hey, if you need a recommendation to see the film, I'll let Rosario Dawson's t-shirt tell the story - 'Badass Cinema' - that's all you need to know.
As much as I love the works of Hollywoods ubergeeks, namely Rodriguez and Tarantino, I was a bit disappointed by Grindhouse. It's fun to watch. Really. There's nothing more fun than watching Bruce Willis playing bad-ass as only he can in his brief but meaningful appearance, Rose McGowan with a machine-gun for a leg tearing through hordes of flesh-eating zombies or two vintage muscle cars clashing on local roads of Tenessee. The premise is great but the movie itself doesn't quite deliver. Even the fake trailers aren't as hilarious as everyone says (although "The Werewolf Women of SS" is so crazy you can't help but chuckle). I know they're just playing with the genre, making a homage/satire but I guess I'm not the only one to think they should just put their inside-geek to sleep and write something original for a change. Tarantino/Rodriguez changed the way of movie-making in the early nineties in more ways than any other directors of that generation but now they're stuck in their comfort-zone. It's still damn good entertainment, but it's not groundbreaking or even fresh (bar Sin City, but here the credits due more to Frank Miller). And stop making all those references and nods to some obscure classics, everybody's doing it now. I like Grindhouse, but I'm still waiting for something that would top El Mariachi or Reservoir Dogs. The competition has caught up and making films more "Tarantino" than Quentin himself, so now we can only hope that Tarantino/Rodriguez will soon show once again how to innovate and become true artists, not just some good craftsmen.
This monumentally pointless movie is best summarized by a line from Planet Terror: "At some point in your life, you find a use for every useless talent you have." Rodriguez, Tarantino, and Co. aim for nothing more noble than to freak the funk, and it's about godd--- time. Go wasted, go stoned, go without your parents' permission. In paying homage to an obsolete form of movie culture, Grindhouse delivers a dropkick to ours.
A "Grindhouse" was a type of inner city theatre that would play all night marathons of low-budget exploitation films in the 1960s, '70s and early '80s. These down 'n' dirty theatres would often show offbeat ultraviolent and sexually charged films under the categories of Kung Fu (Shaw Brothers films), Hixploitation (White Lightning, Gator Bait), Blaxploitation (Shaft, Coffy, Superfly, Dolemite, The Mack), Sexploitation (Supervixens, The Swinging Cheerleaders), Zombie and Cannibal films (Dawn of the Dead, Zombi 2, Cannibal Holocaust), Biker films (The Wild Angels, The Glory Stompers, The Savage Seven, The Losers) among hundreds of other subgenres. In the suburbs during the 1960s and '70s, Drive-ins were the equivalent to the inner city Grindhouses. You could see many of the same kinds of films from the convenience of your car. The title of Robert Rodriguez and Quentin Tarantino's first collaboration From Dusk Till Dawn (1996) was named after the catch phrase for the all night Drive-in movie marathons. Both Robert Rodriguez and Quentin Tarantino grew up watching these kinds of films in Grindhouse theatres and drive-ins in the 1970s and early 1980s. When they became friends in the early 1990s they often held Exploitation film double features in their own home theaters (and also at QT's Film Fests in Austin, Texas). Flash forward to 2006, the two moviemaking pals decided to recreate these wild nights for movie audiences around the world by making their own traditional Grindhouse-Drive-In double feature extravaganza complete with two raunchy horror films, fake exploitation film trailers, ads and other cool treats. First: Robert Rodriguez brings us "Planet Terror" in which a town is overrun by disease infected sickos. Then comes Quentin Tarantino's "Death Proof", in which a serial killer named Stuntman Mike murders people by the use of his stuntcar instead of a knife or machete. "Robert's film is Horror, it couldn't happen, but mine is Terror because it could."–Quentin Tarantino Before or in between the movies, there will be a series of fake movie trailers (as it was customary in old grindhouse theatres to show coming attractions in the double features). Robert Rodriguez presents a Mexploitation trailer starring the hard boiled actor Danny Trejo in the title role of "Machete". Edgar Wright (director of Shaun of the Dead) presents "Don't", a "70s style British horror film". Rob Zombie presents a Nazisploitation-sci-fi-horror flick "Werewolf Women of the S.S.", starring Sherri Moon Zombie, Sybill Danning, Udo Kier, Bill Mosely and Nicolas Cage as the legendary Asian mastermind Dr. Fu Manchu. Eli Roth's (Hostel) fake trailer is an ultraviolent homage to 1970s/'80s holiday themed slasher films called "Thanksgiving". An additional fake trailer called "Hobo with a Shotgun", created by Dartmouth, Nova Scotia filmmakers Jason Eisener, Rob Cotterill, and John Davies for Robert Rodriguez's SXSW Grindhouse Trailers contest, has been included in Canadian theaters. "Hobo with a Shotgun" is attached to the other regular trailers played before the main feature presentation which begins with "Machete". (1) Jason Eisener's, Rob Cotterill's and John Davies' "Hobo with a Shotgun" trailer [Canada only?], (2) Robert Rodriguez's "Machete" trailer, (3) Robert Rodriguez's "Planet Terror", (4) Rob Zombie's "Werewolf Women of the SS" trailer, (5) Edgar Wright's "Don't" trailer, (6) Eli Roth's "Thanksgiving" trailer, and (7) Quentin Tarantino's "Death Proof". Contrary to popular rumor, the missing reels idea in "Death Proof" and "Planet Terror" were not true staples of Grindhouse moviegoing. While many Grindhouse films would be missing frames, they were never missing entire 20-30-minute reels. The concept for this came from a film Quentin owns ("The Sell Out" starring Oliver Reed) which had a missing reel. He found he enjoyed watching the film with a chunk of the film's plot missing because it created an interesting mystery about what actually happened in that part of the film. This idea was then transferred to the two Grindhouse features. It also helped cut down the runtime for the movie's theatrical run. There was some controversy in the distribution overseas for Grindhouse. Because most non-English speaking territories might not understand the tradition behind a double feature, the underlying concept might be lost. There were decisions being made as to which countries will get Grindhouse, and which will get "Grindhouse: Planet Terror" and "Grindhouse: Death Proof" After the Boxoffice flop in the North America, Weinstein decided to split up the movie in all other countries, including earlier announced double feature countries like the UK and Australia. Although some people have criticized, sometimes harshly, the look of the film because of its manual "aging" process, it is actually a good thing. First of all, they helped in the rating procedure of the Motion Picture Association of America (MPAA). There had been a concern about the nudity and violence during one of the deaths in Roth's segment "Thanksgiving". Before the final submission to the MPAA, "age" spots were strategically placed on the area of frame where it showed the nudity and violence, where it suddenly became implied instead of being visual. Secondly, it keeps with the presentation as Tarantino and Rodriguez intended the film to look like, as if you got a well worn print of a film that had been making the distribution rounds for a good while and decided to show it one day. Since the theatrical version of the film is what they strived for to presented to the public, it would be considered their "director's cut". The DVDs will have two versions of each film: the theatrical version and a "restored and remastered" version of the film which is basically the films before undergoing the "aging" process. Also, take into account there are versions of both films pushing 2 hours, due to the fact they are being split up in other countries. So, the DVD may incorporate these versions as well, making a 250-minute version. Only 18 seconds is supposedly deleted from the original cut from an interview on G4TV. a5c7b9f00b

Grindhouse Full Movie Hindi Download

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