Two separate sets of voluptuous women are stalked at different times by a scarred stuntman who uses his "death proof" cars to execute his murderous plans.
After an experimental bio-weapon is released, turning thousands into zombie-like creatures, it's up to a rag-tag group of survivors to stop the infected and those behind its release.
Director:
Robert Rodriguez
Stars:
Rose McGowan,
Freddy Rodríguez,
Josh Brolin
Quentin Tarantino and Robert Rodriguez's homage to exploitation double features in the 60s and 70s with two back-to-back cult films that include previews of coming attractions between them.
In Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish U.S. soldiers coincides with a theatre owner's vengeful plans for the same.
In Austin, Texas, the girlfriends Julia, Arlene and Shanna meet in a bar to drink, smoke and make out with their boyfriends before traveling alone to Lake LBJ to spend the weekend together. They meet the former Hollywood stuntman Mike, who takes Pam out in his "death-proof" stunt car. Fourteen months later, Mike turns up in Lebanon, Tennessee and chase Abernathy, Zoë and Kim, but these girls are tough and decide to pay-back the attack.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The yellow Mustang from the second segment is labeled "Lil' Pussy Wagon", a reference to the Pussy Wagon in Kill Bill: Vol. 1 (2003), which is stolen by the Bride from Buck, who had just let Jasper (the same character who sells the white Dodge in this film) molest her. See more »
Goofs
In the closing credits, The Austin Chronicle is misspelled as "Cronicle." See more »
Quotes
[first lines]
Arlene:
[shouting to Jungle Julia]
Hold on, I gotta come up! I gotta take the world's biggest fuckin' piss!
See more »
Crazy Credits
During the opening credits, the Troublemaker Studios logo remains in it's original form but the Dimension Pictures logo has been rendered in a 1970s style. See more »
Alternate Versions
On the unrated single movie version there's a scene of Stuntman Mike watching the girls between leaving the restaurant and showing Warren's bar. The three walk out of the place drunk and Shanna falls down on her butt. Then they show the bar and the Crazy Baby Sitter Twins entering the front door to the song "Baby It's You". See more »
Filmgoers who are familiar with Quentin Tarantino knows that movies are his passion and most probably his sole love. 'Death Proof' is the product of Tarantino's love for movies which surpasses his drive for creating his own brand of movies. This is the work of a director who wants to recreate a forgotten genre that appealed to him once. Therefore 'Death Proof' has more elements of the slasher genre than Tarantino's own unique style of film-making. All that being said, 'Death Proof' is definitely not one of his finest works. The action elements in the movie are so wide apart and is ridden with many dialogues that are stuffed with references of the movies that either 'Death Proof' has drawn inspiration from or plays into the theme of the story. While these dialogues between the characters of the movie about random things is one of Tarantino's signature elements, in 'Death Proof' they seem out of place and sometimes even hollow which is worsened by weak performances and lack of chemistry between some of the characters. Despite these disappointments, when there is action it is top-notch and deserves to be applauded for its technical proficiency.
To sum it all up, 'Death Proof', while does not engage you consistently, gives you just enough to distinguish itself from many of the other passable movies.
8 of 11 people found this review helpful.
Was this review helpful to you?
| Report this
Filmgoers who are familiar with Quentin Tarantino knows that movies are his passion and most probably his sole love. 'Death Proof' is the product of Tarantino's love for movies which surpasses his drive for creating his own brand of movies. This is the work of a director who wants to recreate a forgotten genre that appealed to him once. Therefore 'Death Proof' has more elements of the slasher genre than Tarantino's own unique style of film-making. All that being said, 'Death Proof' is definitely not one of his finest works. The action elements in the movie are so wide apart and is ridden with many dialogues that are stuffed with references of the movies that either 'Death Proof' has drawn inspiration from or plays into the theme of the story. While these dialogues between the characters of the movie about random things is one of Tarantino's signature elements, in 'Death Proof' they seem out of place and sometimes even hollow which is worsened by weak performances and lack of chemistry between some of the characters. Despite these disappointments, when there is action it is top-notch and deserves to be applauded for its technical proficiency.
To sum it all up, 'Death Proof', while does not engage you consistently, gives you just enough to distinguish itself from many of the other passable movies.