Clooney and Tarantino patronizes the brotherhood with warmth which is a complete shock in contrast to this vampire bloodbath.
Rodriguez is searching for a crowd. And with this crowd pleasing pop culture commercial cinema, he may have found it with the help of a big production and even bigger cast. But all the likeable ingredients couldn’t make me nod to any of their theories. First and foremost what I found most fascinating is how smart actually the concept and the structure of the script is. Quentin Tarantino’s screenplay and Robert Rodriguez’s direction are both going in the same direction, their eyes might be on different topics but they are at least in sync, unlike the previous experience of Tarantino with Tony Scott that I found a bit uneven. But this time I am to blame even Tarantino for it. For the structure of the script is incredibly promising and has enormous potential.
The script is bafflingly smart. It starts with a crime scene that marks the territory and as it proceeds further and further, the madness multiplies and the boundaries are pushed periodically. Now, this is an engaging journey to go through. Jumping in one from one location to another, one genre to another and one tone of violence to another, but this is all shucked out of the window by the execution. What all Rodriguez had to do was acknowledge the current state, position, scenario that is explored in this wild ride.
As soon as he accepts the presence of each character the film should electrify all those elements that were meant to shock the viewers. And it is not that he hasn’t tried. With a hands-on camera work that gives a personal look from a character’s perspective, he has made us look through their spects plenty of times. But From Dusk Till Dawn, none of the characters notify us physically or verbally of their inner emotions of the world they revolve around.