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Some folks just don’t “get it.” The “Grindhouse” double-bill - which acted as an homage to (you guessed it) the grindhouse theaters that played exploitation films (most of the time back-to-back) throughout the ‘70s - was as innovative as ideas in mainstream cinema probably got. It’s disappointing (but not too surprising) then that this homage performed underwhelmingly at the box office.

But those uninterested in the idea would probably say “they asked for it.” The “Grindhouse” idea was directed solely at those with a fondness for exploitation era horror cinema; let me count the ways – the films themselves contained faux specks, dirt marks, scratches, wear marks and “missing reels” while mock trailers of other grindhouse-esque features (the "Machete" trailer has gone on to become almost legendary) appeared before the main features. The “Grindhouse” experience was EXACTLY that; a true experience.

But the films contained within the “Grindhouse” package (Robert Rodriguez’s “Planet Terror” and Quentin Tarantino’s “Death Proof,” respectively) did little to complement each other. “Planet Terror” was a one-two punch of zombies, girls, guns, and gore while “Death Proof” was a talky, hip-as-I-want-to-be car chase film that talked the talk (literally) but did nothing in the way of walking the walk. Therein lies the beauty of viewing the films separately. Separately, each film’s weaknesses become their strengths. Separately, there's none of that subgenre juxtaposition that was so prevalent in the "Grindhouse" double-bill.

Plot-wise, there’s something going on here about chemical weapons, something resembling a government conspiracy, zombies, and a bunch of other shit, but that really doesn’t matter. What does matter is that Freddy Rodriguez kills many undead men and women in numerous grisly ways, Rose McGowan makes for a memorable horror film heroine, and great-fuckin’-man Tom Savini hams it up as one of great-fuckin’-man #2 Michael Biehn’s deputies.

With the exception of some misplaced visual FX, “Planet Terror” is as old school as it gets. There’s obvious wire work, squibs galore, bodies ripped apart, intestines torn out, the aforementioned “grindhouse-esque qualities” apparent in nearly every frame and some of the most intentionally over the top performances I’ve ever seen. Rodriguez’s direction, however, is top-notch despite the obvious deficiency in budget. The cinemtaography is also excellent and really captures the low-budget feel of the grindhouse era with little flaw.

Rodriguez confirms on the “Planet Terror” special features that a “Grindhouse” box set is on its way, but I wholeheartedly recommend purchasing the films separately. Viewing each of them independent of each other allows the viewer to weigh the positives and negatives of each film more realistically and less harshly. Not to mention, for those that enjoyed the theatrical version of “Planet Terror,” it is presented here in an extended (aka International) cut that some may argue is better – though considerably longer – than the theatrical print. By all means, fans of the film should pick up this excellent set immediately.

9/10