on grindhouse:

i keep thinking about the second one, tarintinos, and remember seeing vanishing point and celluiod closet about the same time, and i dont remember which one i saw first, but vanishing point, i could never apperciate because of the explicit violence towards queers, and one of the problems i have w. the grindhouse genres is that one of the things they grind is women.

so having four women being killed in the usual way, and then having a similar set of women, refuse to be killed, and to have both sets be african american, or hispanic as well--i think that it was a corrective to the genres that tarintino has been playing w. all of his career--& i think his half of this, plus kill bill are essays about the history of culture, i dont think they nessc. work as cinema as much as deconstructions of cinema, or of the aesthetics of the real, so when you have people genuinely frightened, when the danger seems real (ie when they are going over the overpass, and they keep, almost praying no dead end no dead end no dead end, or when one has to be coaxed into playing sailors mast, etc) it seems to me that he is, well not refuting, but reworking what he thot about film in works like pulp fiction.

so i didnt think it worked as a double feature, i thot rodiguez(sp) work was subpar, and the best bits of it were v. close to tarintino anyways, but i think that death car, was fascinating, in its construction.

(or as my friend ashley said as he walked out of the theater--who knew that godards weekend and the duke of hazzards went so well together)

(and i saw maybe 20/5 people leaving after the first half, so they missed the second movie, but i cant imagine an interest in grindhouse as a genre is that large)