Ex-con Jensen Ames is forced by the warden of a notorious prison to compete in our post-industrial world's most popular sport: a car race in which inmates must brutalize and kill one another on the road to victory.
Convicted cop-killer Carl Lucas, aka Frankenstein, is a superstar driver in the brutal prison yard demolition derby known as Death Race. Only one victory away from winning freedom for himself and his pit crew.
Frank Martin puts the driving gloves on to deliver Valentina, the kidnapped daughter of a Ukranian government official, from Marseilles to Odessa on the Black Sea. En route, he has to contend with thugs who want to intercept Valentina's safe delivery and not let his personal feelings get in the way of his dangerous objective.
Mei, a young girl whose memory holds a priceless numerical code, finds herself pursued by the Triads, the Russian mob, and corrupt NYC cops. Coming to her aid is an ex-cage fighter whose life was destroyed by the gangsters on Mei's trail.
Martine offers Terry a lead on a foolproof bank hit on London's Baker Street. She targets a roomful of safe deposit boxes worth millions in cash and jewelry. But Terry and his crew don't realize the boxes also contain a treasure trove of dirty secrets - secrets that will thrust them into a deadly web of corruption and illicit scandal.
Stephen Campbell Moore
In 2012, amid economic chaos and high unemployment, Americans watch by the millions as criminals with life sentences race armored cars on Terminal Island. Two-thirds of the combatants die but the winner may earn his freedom. On the day he loses his job, steelworker Jensen Ames is arrested for his wife's murder. Sent to Terminal Island, he's offered an out by the steely and manipulative Warden Hennessey - race as the popular mask-wearing (but now dead) champion, Frankenstein, or rot in prison. Jensen makes the bargain. As the three-stage race approaches, he realizes that the whole thing may be a set up - can an anonymous man behind a mask get revenge and win his release? Written by
Whenever the timer is shown counting the minutes until the next stage of "Death Race", the clock always dissolves as the seconds read "32". See more »
The 1970 Chevrolet Chevelle SS that Martinez arrives in at the end of the movie has the wheels turned all the way to the right. when she gets out of the car, the wheels are turned all the way to the left. See more »
[while being shot at during Death Race]
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After the credits, the line "Okay cocksucker. Fuck with me, and we'll see who shits on the sidewalk" is heard again. See more »
Now here's an exploitation film that knows what a solid B-movie is supposed to be: an action-dense, amped-up, gore-soaked killfest. It's the cinematic equivalent of eating that entire box of Red Vines you bought at the snack bar, using them as candy straws to suck down your extra-large Coke.
As a fan of the original "Death Race 2000," I was pleased to see just enough of a shadow of the original movie inhabiting the skin of the new one. Roger Corman's name on the producing credits gave me hope at the start, and his seal of approval seemed to mean something, perhaps as counterweight to Paul W. S. Anderson's track record of shooting mediocre video game adaptations. Surprisingly, Anderson rises to the occasion, effortlessly elevating a cliché-rich but fast-moving script to the level of a satisfyingly adrenalin-fueled confection aimed like a bullet at the A.D.D.-addled brains of the short-attention-span generation.
Set in an "Escape From New York"-style dystopic prison-culture (that sounds suspiciously like current American society), slaughter happens, stuff blows up, and the weak are culled like bunnies caught in the headlights of gas-sucking American muscle cars. Fans of the "Twisted Metal" video game will love the newest wrinkle in the race, the addition of weaponry a needed bloody bump for version 2.0. And what a bump it is, with each car's chugging machine guns indiscriminately spewing hot rounds at every foe, shredding Detroit steel like it was used Kleenex. It's unabashed gun fetishism at its gleeful best, and it makes you want to strap an M60 to the hood of your Prius in order to cut your commute in half.
Jason Statham does his standard tough-guy job as the scowling Frankenstein, Joan Allen plays a ball-busting warden (perhaps a bit in the mold of Louise Fletcher's Nurse Ratched), and Ian McShane of "Deadwood" has a solid cameo as the prison-wise mechanic, Coach. Even Machine Gun Joe gets a new incarnation in the form of Tyrese Gibson, who thankfully is nothing like Stallone's blustering Italian meatball.
I loved it, and can't wait to see it again in a theater with enough bass to pump up those impact crunches to the bone-jarring level they deserve.
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