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Grindhouse Presents: Death Proof (Extended and Unrated) (Two-Disc Special Edition)
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Director Quentin Tarantino delivers an adrenaline shot to the heart with Death Proof, "a tribute to balls-out pedal-to-the-metal car chases" (Pete Hammond, Maxim). Featuring exhilarating high-speed action, jaw-dropping stunts, and some of the most quotable lines since Pulp Fiction, Death Proof "goes faster, and funnier, than you thought possible...and then it goes further" (Ty Burr, Boston Globe). Kurt Russell stars as a sociopathic stuntman whose taste for stalking sexy young ladies gets him into big trouble when he tangles with the wrong gang of badass babes. Their confrontation escalates to a hair-raising, 18-minute automotive duel with one of the girls strapped to the hood of a thundering Dodge Challenger that "earns a place of honor among the great movie car chases" (Scott Foundas, LA Weekly).
Loud, fast, and proudly out of control, Grindhouse is a tribute to the low-budget exploitation movies that lurked at drive-ins and inner city theaters in the '60s and early '70s. Writers/directors Quentin Tarantino (Kill Bill) and Robert Rodriguez (Sin City) cooked up this three-hour double feature as a way to pay homage to these films, and the end result manages to evoke the down-and-dirty vibe of the original films for an audience that may be too young to remember them. Tarantino's Death Proof is the mellower of the two, relatively speaking; it's wordier (as to be expected) and rife with pulp/comic book posturing and eminently quotable dialogue. It also features a terrific lead performance by Kurt Russell as a homicidal stunt man whose weapon of choice is a souped-up car. Tarantino's affection for his own dialogue slows down the action at times, but he does provide showy roles for a host of likable actresses, including Rosario Dawson, Mary Elizabeth Winstead, Rose McGowan, Sydney Poitier, and newcomer Zoe Bell, who was Uma Thurman's stunt double in Kill Bill. Detractors may decry the rampant violence and latch onto a sexist undertone in Tarantino's feature, but for those viewers who grew up watching these types of films in either theaters or on VHS, such elements will be probably be more of a virtue than a detrimental factor. -- Paul GaitaSee all Editorial Reviews
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However, I finally relented and let curiosity get the better of me and ordered a copy and watched it yesterday. And let me just say: WOW! WOW!! WOW!!! I fkg LOVE it! Did I say WOW?! Best movie I've seen in ages. True story!
From the opening animated credit sequence to the final frame of closing credits, this is such a breathtaking, riveting masterpiece! And there are so many iconic images from everything 1970's drive-in cinema, and includes one of the greatest soundtracks ever committed to film. Tarantino even made use of Pino Donnagio's awesome score from Brian De Palma's "Blow Out" (the small piano piece that plays while one of the female characters reads a text message early in the film).
Since pretty much every reviewer has mentioned the plot in pretty much every review since the movie came out, I am not gonna bore you with repeating that here. I will, however, say that I have never seen some of these actors in a better film. Ever! This is the best work from Kurt Russell since his glorious work in John Carpenter's classics, like "Escape From New York".
And every single female in the cast is riveting! (Excuse me if I've used that word already.) Especially Zoe Bell, playing herself. You may recognize Zoe from her stunt work being Uma Thurman's stunt double in Tarantino's "Kill Bill". She is simply electrifying as an actress!
Anyways, really don't know what else to say except that if you haven't already seen this movie, don't wait another minute: See. It. NOW! And I am gonna go now and watch it again (for the third time since yesterday afternoon).
HIGHLY RECOMMENDED! Thanks for reading! :)
(author, "The Two Worlds of the Mind")
I like to think of this two entries in a fictional Death Proof franchise. the first half feels like "Deathproof 1", and has the feel of being shot in the late 70's on a shoestring budget. the second half (which thematically quotes the first half throughout, and turns elements of that part on their heads, particularly in it's delightfully cathartic finale) has the feel of having been shot about a decade later, either after they filmmakers scraped together enough cash for a second installment, or perhaps as a final entry in a longer series. it's cleaner, less grainy, a bit more polished, and tonally very different. also, both halves seem to pay particular stylistic homage to Tarantino contemporary, Richard Linklater early films (particularly Slacker).
like me, you were probably "meh, it's okay I guess" when you first saw it. all I can say s watch it again (and again, and again...). it will grow on you.
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