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Not all Christmas stories are full of cheer - take the disturbing childhood of Billy Lenz, for example. Born during Christmas, little Billy Lenz suffered from Jaundice because of a liver defect, and was unwanted by his cruel mother (who only saw the husband she’d come to despise when she looked at her son). While she let her true feelings be known to him with beatings and abuse, only his father showed him compassion like a parent should. But on Christmas Eve in 1975, his unfaithful mother gave him one of the most cruelest gifts of all, as she made five-year-old Billy observe his beloved father’s brutal murder at her own hands and those of her lover with a claw hammer. Before burying him under the house, she locked Billy in the attic for good, to hold his silence of what he’d witnessed that night. His only contact from then on was when she came to punish him for making a noise or other such trivial nuisances, while she was with her lover and starting a “new” family. As Billy’s mother fell pregnant with a daughter and treated her with love, which Billy had never experienced with his mother, Billy came out of the attic on Christmas Eve 1991, taking a rolling pin to his mother’s head, and a pointed tree ornament to her lovers eye before leaving his sister as disfigured as he was by blinding her. Before he could finish the job police forced there way in and dragged him off to mental institution and his sister a foster home, whose eye sight was saved in one eye… but not the other. Cut to the present where a security guard has been monitoring Billy’s progress since he came into his care, back in 1991. Knowing full well that during this time for fifteen years, Billy has made a break from this asylum, but never succeeding… until now. Far away, his childhood home is now a sorority house, where nine sisters and their house-mother are celebrating the holiday season together …but tonight they’re about to get a surprise visitor… and it’s not Santa.

From cult movie directors Quentin Tarantino and Robert Rodriguez comes a unique film experience: a double-bill of thrillers that recall both filmmakers’ favorite exploitation films. “Grindhouse” (a downtown movie theater in disrepair since its glory days as a movie palace known for “grinding out” non-stop double-bill programs of B-movies) is presented as one full-length feature comprised of two individual films helmed separately by each director. Tarantino’s film, “Death Proof,” is a rip-roaring slasher flick where the killer pursues his victims with a car rather than a knife, while Rodriguez’s film “Planet Terror” shows us a view of the world in the midst of a zombie outbreak. The films are joined together by clever faux trailers that recall the ’50s exploitation drive-in classics.

Richard and Susan are a couple from San Diego, California who are vacationing in Morocco while their two children are at home with their Mexican housekeeper, Amelia. A rifle finds its way into the hands of a local herdsman’s young sons, who recklessly take a shot at a tour bus and hit Susan in the shoulder, causing her severe injury. The distraught Richard calls home to tell Amelia of the situation, who shortly departs for Mexico to attend her son’s wedding, with Richard and Susan’s children in tow. Disaster thus multiplies, with the situation in Morocco ascribed to terrorists in the media, while Amelia meets with trouble at the Mexican border when she attempts to return to San Diego with Richard and Susan’s children. Meanwhile, in Tokyo, a widower tied to the rifle in question, a complex shift of ownership to which the audience is privy, attempts to deal with the memories of his recently deceased wife and his strained relationship with his deaf teenage daughter.

In World War II, the outcome of the battle of Guadalcanal will strongly influence the Japanese’s advance into the pacific. A group of young soldiers is brought in as a relief for the battle-weary Marine units. The exhausting fight for a key-positioned airfield that allows control over a 1000-mile radius puts the men of the Army Rifle company C-for-Charlie through hell. The horrors of war forms the soldiers into a tight-knit group, their emotions develop into bonds of love and even family. The reasons for this war get further away as the world for the men gets smaller and smaller until their fighting is for mere survival and the life of the other men with them.

The sea underworld is shaken up when the son of the shark mob boss is found dead and a young fish named Oscar is found at the scene. Being a bottom feeder, Oscar takes advantage of the situation and makes himself look like he killed the finned mobster. Oscar soon comes to realize that his claim may have serious consequences.

When con artist Roy Dillon (Cusack) is visited by his Mother, Lilly (Huston), who is also a con artist, she sends Roy off to the hospital because of a blow to the gut he suffered while working the grift. Roy’s girlfriend, Myra (Bening), the third con artist, comes to visit Roy, and we discover that Lilly and Myra don’t get along. After he is released from the hospital, Roy and Myra go on a little trip, where he is propositioned to be partners in crime with Myra. Everything soon falls apart for the three con artists, which leads to a bloody climax.

The story revolves around a dying father and his son, who is trying to learn more about his dad by piecing together the stories he has gathered over the years. The son winds up re-creating his father’s elusive life in a series of legends and myths inspired by the few facts he knows. Through these tales, the son begins to understand his father’s great feats and his great failings.

Jules Winnfield and Vincent Vega are two hitmen who are out to retrieve a suitcase stolen from their employer, mob boss Marsellus Wallace. Wallace has also asked Vincent to take his wife Mia out a few days later when Wallace himself will be out of town. Butch Coolidge is an aging boxer who is paid by Wallace to lose his next fight. The lives of these seemingly unrelated people are woven together comprising of a series of funny, bizarre and uncalled-for incidents.