In this action-horror flick from director Robert Rodriguez and screenwriter Quentin Tarantino, Tarantino stars with George Clooney
as a pair of bad-to-the-bone brothers named Seth and Richie Gecko.
After a string of robberies that left a river of blood in the Geckos'
wake, the sadistic siblings head to Mexico to live the good life. To get
over the border, they kidnap Jacob Fuller, a widowed preacher played by
Harvey Keitel, and his two children, Kate (Juliette Lewis) and Scott (Ernest Liu).
Once south of the border, the quintet park their RV at a
rough-and-tumble trucker bar called The Titty Twister, where Seth and
Richie are supposed to meet a local thug. After a couple of drinks, they
realize that they're not in a typical bar, as the entire place begins
to teem with vicious, blood-sucking vampires. With the odds stacked
greatly against them, the Fullers and Geckos team together in hopes of
defeating the creatures of the night. Makeup artist Tom Savini and blaxploitation star Fred Williamson appear as allies against the vampires, and Cheech Marin fills three different roles.
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Review By Adam Goldberg
From Dusk Till Dawn is a voraciously vulgar and violent film that illustrates how talented filmmakers can create a deliberately bad movie. Scripted by Quentin Tarantino and directed by Robert Rodriguez (Desperado), the film can best be described as a Mexican road picture turned self-conscious vampathon with a droll postmodern slant. Remarkably, the narrative consists of two contrasting types of films crudely soldered together. The story begins as a Pulp Fiction-type gangster tale featuring the sharp and profane dialogue seen in Tarantino's other films. Then with no warning, the movie suddenly transforms into a zany, vampire bloodbath similar to the tongue-in-cheek horror works of Sam Raimi and Peter Jackson. However, Tarantino is able to turn the genre on its undead ear, creating an over-the-top gorefest featuring holy-water condom balloons, quadruple impalement, and Harvey Keitel sucking blood as a preacher-turned-vampire. This bold and bizarre Tarantino/Rodriguez effort is laden with frenetic editing and fresh dialogue, but all style and cinematic skill fall to the wayside when the body count abruptly begins. This is a tour de force of outrageous bad taste coupled with delicious talent. Those who relish the work of Quentin Tarantino will certainly find merit in the first half of the film. Others who consider themselves horror aficionados will go bloody crazy over the eventual monster mash.
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