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It was rumoured back in the day that Tarantino wrote the original treatment for From Dusk Till Dawn at the age of thirteen, which might explain its puerile humour and willingness to do things other motion pictures have the good sense (and taste) not to attempt.
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If anything, it drowns the tracks in latex limbs and buckets upon buckets of red syrup, delivering one of the most immature, yet strangely exhilarating climaxes to grace the silver screen. To say the film goes off the rails would be an understatement. Then From Dusk Till Dawn gets really, really silly as a pack of vampires trap our heroes in a strip club filled with colourful cannon fodder characters, such as the aptly named Sex Machine (Tom Savini) and Vietnam vet Frost (Fred Williamson), who gets his prerequisite flashback at the most inopportune moment. Tensions rise when Ritchie becomes infatuated with the eldest child, Kate (Juliette Lewis), hallucinating lurid advances from the teenage girl. The father, former preacher Jacob (Harvey Keitel), lost his faith after his wife passed away, so we fear he might try something heroically suicidal to protect his kids. The first hour had me on the edge of my seat: wanted by the law, Seth (George Clooney) and his disturbed brother Ritchie (Tarantino) kidnap a vacationing family in order to sneak through the Mexican border. Even in as late as the mid nineties, just as Anne Rice was terraforming the myth for her sex, creative minds like Robert Rodriguez and Quentin Tarantino were pushing in the opposite direction, inserting the blood-suckers in the sort of testosterone-filled narratives only boys could dream up.Įnter From Dusk Till Dawn, which starts off as a slow-boil crime thriller and then turns into a balls-to-the-walls splatter flick at the halfway mark.
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I’ve argued for some time now that vampires are the new unicorn: a fantasy creation that appeals to the female psyche specifically and leaves male genre fans befuddled, even angry if they’re not used to sharing their toys.