Category Archives: Kurt Russell

2007 Films, Action, Eli Roth, Kurt Russell, Mary Elizabeth Winstead, Michael Parks, Quentin Tarantino, Robert Rodriguez, Rosario Dawson, Rose McGowan, Slasher, Thriller

Grindhouse: Death Proof-2007

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Grindhouse: Death Proof-2007

Director Quentin Tarantino

Starring Kurt Russell, Rosario Dawson, Zoe Bell

Scott’s Review #1,344

Reviewed February 13, 2023

Grade: A

It’s tough to go wrong with a Quentin Tarantino film recognizing that one needs to be a Tarantino fan. His films are for specific tastes that indulge in stylized violence, dark humor, and cartoonish characters.

Grindhouse: Death Proof (2007) is an easy victory for the director and incorporates his trademark qualities with beautiful female race car drivers and a sadistic stuntman.

As usual, revenge is the name of the game and results in a satisfying ending. The thrill is in the chase that occurs mainly midway through and plenty of B movie references and old songs are on display.

The experience is a pure pleasure for any cinema lover that appreciates aspects of the film like editing that too often falls beneath the surface. The scratchy film texture and retro title sequence all help to encompass another Tarantino opus.

The film is part of a double feature along with Robert Rodriguez’s Planet Terror and includes a series of mock exploitive trailers.

Both, specifically Tarantino’s, harken back to when exploitative films were shown in dusty movie houses with grainy video and a stale popcorn stench. The mood was immediately set for me while watching the film which enhanced my enjoyment tremendously.

Psychotic stuntman Mike (Kurt Russell) is a professional body double who likes to meet unsuspecting women at bars and take them for deadly drives for fun. He has a specially made car which he calls ‘Death Proof’ but only for the driver and not the passenger.

The first half of the film involves a group of girls out for a good time in a dive bar. Abbie (Rosario Dawson), Pam (Rose McGowan), and others ultimately fall victim to his shenanigans during a dastardly head-on collision exceptionally filmed.

Later, he meets a tough group of female race car drivers led by real-life stuntwoman Zoe Bell who vows to make him pay for causing them trouble. Their hell-bent vengeance just may be what the doctor ordered to cause Mike’s downfall.

Death Proof is often overlooked by fans of Tarantino and it might be because it’s paired with another film. But, it’s not half a movie either and at one hour and fifty-four minutes, it’s got legs. The film flies under the radar for me too but it’s a high-octane mile-minute experience.

One great part of Death Proof is the throwback to cult films of the 1960s and 1970s, especially Faster Pussycat! Kill! Kill!, a 1965 exploitative masterpiece by Russ Meyer.

These girls are no shrinking violets or damsels in distress who need a man to save the day. Quite the contrary. They kick ass and take names, especially in the flawless second half. Out for blood, the girls assuredly put Mike firmly in his place.

Juxtapositioned with the first half which has a dire ending for the group of girls, the second half is more upbeat and satisfactory. The lighting is also different in the two halves. The first takes place well beyond midnight while the second is in the bright afternoon.

Tarantino produces a brilliant piece of feminist progressivism with nasty muscle and female characters not to be messed with. Death Proof (2007) shows badass characters with hints of humor and discussions about men.

The girlie action flick blends perfectly with the 1970s race cars and the sexploitation theme Tarantino is recreating while still making the film feel modern and relevant.

1991 Films, Action, Donald Sutherland, Jennifer Jason Leigh, Kurt Russell, Rebecca De Mornay, Robert De Niro, Ron Howard, Scott Glenn, Thriller, William Baldwin

Backdraft-1991

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Backdraft-1991

Director Ron Howard

Starring Kurt Russell, William Baldwin

Scott’s Review #1,216

Reviewed January 2, 2022

Grade: B

Backdraft (1991) is a highly entertaining yet completely implausible action, thriller film directed by Ron Howard. If made today it would be on par with Chicago Fire or any other of the slew of similar procedural NBC television shows that currently exist.

The film is even set in Chicago just like the television series.

The story involves an arsonist on the loose and the subsequent investigation to catch them.

Howard is an influential and respectable director but his films frequently harbor the safe territory rarely veering too left of center. With Backdraft, I assumed I would get a by-the-numbers masculine film and that is exactly what I received.

The beefy cast includes Kurt Russell, Billy Baldwin (brother of Alec), and Robert De Niro with Jennifer Jason Leigh and Rebecca De Mornay serving as secondary female characters.

Chicago firefighting brothers Stephen (Russell) and Brian (Baldwin) have been rivals since childhood. Brian, struggling to prove himself as a worthy firefighter, transfers to the arson unit where he aids Inspector Don Rimgale (De Niro) in his current investigation. There is a rash of fires involving oxygen-induced infernos called backdrafts.

But when a conspiracy implicating a crooked politician and an arsonist leads Brian back to Stephen, he is forced to overcome his brotherly competitiveness to crack the case.

Anyone involved in their local fire department or who has a strong sense of loyalty or brotherhood in a blue-collar vein will love Backdraft for its message. The strong family unit that shrouds most firehouses or police stations is prevalent throughout the film which brings a united and community feeling.

It’s a nice feeling and sets the tone for the viewer to feel a part of things and root for the heroes to defeat whoever is responsible for the arsons. Could it be an unstable member of the fire community or an outsider harboring a grudge?

The story, despite being somewhat of a whodunit is not the strongest aspect of Backdraft nor much of a reason to tune in and follow. Too often the writing is lazy or languishes in television drama territory with obvious and melodramatic situational setups.

The realism is not there. The fire sequences are completely stagey and meant to perfectly parlay the story elements rather than have an identity of their own.

With all that said, the star of the film is the visuals that give Backdraft its adventure and edge-of-your-seat thrills. Even though I knew the fires and explosions were manipulated I felt like I was inside a burning room with the hissing and crackling sounds of the fire and wind enveloping me.

It’s all for dramatic purposes of course but the state-of-the-art special effects are cool to experience.

This is the key to the success of a film like Backdraft and enough for me to keep watching and become invested in the entire work.

Yes, many characters are types and despite the big A-list stars Russell and Baldwin are the only ones who have much of anything to do. Their brotherly relationship though fraught with friction is at the heart of the characters though sometimes the corny dialogue slips into soap opera territory.

Backdraft (1991) is a cinematic Hollywood mainstream film that works on many levels. Forget the lazy storylines and the predictability factors for a minute. It provides a blazing-hot inferno of sharp visuals that are to be commended and appreciated for their merits.

Oscar Nominations: Best Sound Effects Editing, Best Visual Effects, Best Sound

1981 Films, Action, Adrienne Barbeau, Best Film of the Year, Donald Pleasance, Ernest Borgnine, Harry Dean Stanton, John Carpenter, Kurt Russell, Scott's Top 100 Films

Escape from New York-1981

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Escape from New York-1981

Director John Carpenter

Starring Kurt Russell, Adrienne Barbeau

Top 100 Films #76

Scott’s Review #344

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Reviewed January 9, 2016

Grade: A

Escape from New York (1981) epitomizes a great action film to me.

Too often, action films are filled with run-of-the-mill characters, are plot-driven, and are mediocre stories that lack creativity. I adore Escape from New York, however.

The creativity and amazing direction by John Carpenter allows the film to soar high above what is typical for this genre.

The unique premise sets things off immediately as we follow the mission of ex-con Snake Plissken (Kurt Russell) to save an important figure in peril.

In futuristic 1997, we learn that due to skyrocketing crime throughout the United States, New York City has been fenced off and turned into a maximum-security prison.

All of the most hardened and demonic criminals have been isolated on Manhattan Island to fend for themselves- free to kill or be killed as they like.

The rest of the country is presumably crime-free- though we never see the rest of the country.

The President of the United States (Donald Pleasence) is taken hostage when Air Force One crashes on Manhattan Island. Snake is injected with a poison that will kill him in twenty-four hours unless he successfully rescues the president and returns him alive and well.

I love this film because it is strictly Carpenter’s vision.

Due to the success of 1978’s Halloween, he was given creative freedom and a big budget to film in St. Louis (doubling for New York).

The film contains eerie synthesizer music (reminiscent of Halloween and Halloween II) which sets the tone exceptionally well. The dark and abandoned sets are wonderful and capture a futuristic world oh so well.

The audience will undoubtedly become enraptured as Snake’s mission is to do or die- if he does not save the president he dies. As Snake arrives atop the World Trade Center via glider, now post 9/11, this scene takes on a haunting quality.

Snake then immerses himself into the gloomy world of Manhattan facing all sorts of dangers along the way. Punk rock-looking creatures scurry around the city- many insane, and Snake meets odd character after odd character in his quest to save the president.

His main ally is Cabbie, played by Ernest Borgnine.

The villain of the story is Duke, not well cast nor well developed, but this can be overlooked because of his super rad Cadillac and his two fascinating accomplices- Maggie (Barbeau) and Brain (Harry Dean Stanton).

The lavish sets include the New York Public Library and Grand Central Station- I love that there are so many iconic New York City locales featured- but the fact that they are not shot in the genuine areas does not bother me.

The art direction is done so well that I was fooled.

Escapism fare, but a unique entry in the action genre. Thanks to fantastic direction and a likable star, Escape from New York (1981) succeeds.