.jpg/150px-Death_Proof_(Netherlands).jpg)
The film Text copyright (c) Filmverdict 2006-present. Any film titles and artwork used are copyright of their respective owners.
Marketed as "the fifth film from Quentin Tarantino" (counting Kill Bill's two parts as one film), Death Proof is the director's latest attempt to conquer new genres, in this case the slasher flick and the car chase film. Being Tarantino, though, Death Proof is far from an average example of either. As a slasher flick, its originality lies in the killer's weapon: a "death proof" (i.e. reinforced for movie stunt driving) car. For a chase film, there's certainly a lot of talking, and the only actual chase occurs at the end. It doesn't pan out as would be expected either, but revealing how would obviously be something of a spoiler. However, even though, like Kill Bill, Death Proof represents a departure for Tarantino, it still bears all the hallmarks of the influential writer-director.
Tarantino is most well known for his dialogue, and there is plenty of his trademark repartee here - indeed, for some, there may be too much of it. The film can be divided into two distinct halves (ironically for a film originally released as part of the Grindhouse double bill, Death Proof feels like a double bill itself, which presumably was a deliberate decision on Tarantino's part), meaning that Tarantino has to introduce us to two different sets of characters. The two halves are quite contrasting; the first is mostly set at night and has a very 70s-esque feel - meaning that it's a little jarring when the characters pull out their iPods and Nokia mobile phones - complete with scratches on the film and 'accidental' jump cuts, while the second half is set completely in daylight and the grindhouse-style visuals are eliminated.
There's also a marked difference in quality between the two halves. The first is tense, gripping and seedy, dripping with foreboding atmosphere, and the film's intentionally dodgy appearance is an enjoyable novelty. In the latter half, however, Tarantino indulges himself slightly too much with the irrelevant pop-culture dialogue and the characters are more like caricatures, making them harder to care about. While a welcome sense of humour sustains interest, it's a relief when the final chase arrives and thankfully it's worth the wait. It won't go down as a classic sequence but it is certainly well made and refreshingly, as Tarantino has made sure to point out in all his promotional interviews, contains no CGI or sped up footage.
The man behind the wheel of the death proof car is Stuntman Mike, perfectly embodied by Kurt Russell. Russell has played several iconic characters in the past but his portrayal of a monster who gets his kicks out of killing girls in horrific car crashes is bound to rank up there beside Snake Plissken for many fans. He actually has relatively little screen time, and the film sags when he isn't around - mainly in that stretch in the second half. Somehow, through a combination of Tarantino's writing and Russell's acting, you even come to pity this sick bastard by the end of the film.
Tarantino's propensity for graphic violence shows no signs of slowing down. A bone-crunching scene in the middle of the film, replayed four times from different angles for added effect, will remain in the memory for some time afterwards, and becomes even morbidly comical due to the extreme gore on show. Death Proof's moments of violence, unlike those in the Kill Bill two-parter, come in short, sharp bursts, but that if anything only intensifies their impact. It is not a film for the squeamish. It contains a lot of talking. It has a great soundtrack. Typical Tarantino, then.
The summary
Engrossing and suspenseful for the most part, with only an occasionally sluggish second half putting a (slight) dampener on the fun.
Agree? Disagree? Say so in the Guestbook!