Death Proof - Todsicher

Ein Spielzeug mit Stil, mit langweiligem Weibergerede und HERVORRAGENDEN physischen Autoverfolgungsjagden und Stunts. Bei den Dialogen habe ich von meinem Lieblingsregisseur Tarantino mehr erwartet, bei der actionreichen (Motor-)Dynamik hat er mich (wieder) angenehm überrascht. Kurt Russell ist ausgezeichnet und die Regie-Einlagen für das interessierte Publikum sind noch besser (die zwei Polizisten, der Klingelton des Handys, Kurt, der in die Kamera zwinkert usw.). Nach dem Vorbild von Russ Meyer hätte aber Quentin Damen mit einer größeren Oberweite engagieren können. Dann wäre das Genre des feministischen Exploitation-Films wirklich "perfekt". Mal sehen, was mir die 110-minütige Version sagen wird. Wegen der erwähnten Dialoge, die ich ihm nicht verzeihen kann, bleibe ich aber bis auf weiteres bei 3*. PS: Rosario Dawson ist eine sehr schöne Frau. (09.07.2007)

As a stand-alone, this film doesn’t work, that’s pretty clear. But as part of a tribute to a decadent genre, beginning with Rodriguez's macabre starter, the trailers for fictional B-movies, and even the image with the patina of preserved VHS tapes with all the scratches and skips (in the American distribution version, a sign appeared after the lap dance scene apologizing for a piece that was missing due to the poor technical condition of the filmstrip), it has its own unique charm (which is why I consider the division of Grindhouse a fatal mistake). I understand that for many uninitiated viewers the pacing will be a bit " homicidal" – girls fooling around in the car, girls fooling around in the pub, Arlene texting her boyfriend at length, girls fooling around again, Arlene texting AGAIN at length, etc. – and I'm sure it will seem very "bad" to them, but looking at the films Tarantino pays fan tribute to, I have no doubt that he had everything under control, knew what he was doing and that it was supposed to be that "bad". Just look at Meyer's Faster, Pussycat! Kill! Kill!, from which Tarantino also drew: the girls fool around with each other, fool around with the guys, fool around with each other again, in the meantime they take out one guy, and at the end there's some action. Comparing it to Tarantino's previous films or calling it "boring" is a complete misunderstanding of his creative intent. He just made a fan tribute to himself for his own enjoyment and I ate it up with gusto. And the "old-school" car chase at the end was a treat! (25.08.2007)

Personally, it was a big disappointment. It looks exactly as it should, but the story (story?) is so boring. The final car chase improves things a little, without it, it would be only 2*. (17.11.2007)

The girls are hot (maybe too hot) and anyone who only looks at their mouths the entire time might get bored eventually. They talk about nothing and that's why most people brush off the dialogue as a weakness. But anyone who's been eyeing Warren's bar, where there are a lot of posters, a cool jukebox, and good drinks being poured, will understand that Quentin has got things figured out pretty damn well. Every now and then the girls drop a suspiciously familiar line from another film and everyone with half a brain realizes that someone here has studied the history of (not only) trash pretty damn well. Although the pulp aesthetic is quite foreign to me, I enjoyed this delightful ride with Quentin as much as Stuntman Mike enjoyed his car. (14.10.2007)

I have no idea why this movie is so long. Why dilute a solid story (that doesn't start until the middle of the movie) with a completely unnecessary, nearly one hour prolog? Especially since after the prolog there is a “reboot’ and we start again. In the first part, we have to watch uninteresting characters, embarrassing cameos, and wannabe cool dialogs that even the hardworking Kurt Russell can’t save. The second half is basically the same, but it works mainly thanks to the likable ladies and Tarantino dialogs. The final car chase has the right atmosphere and edge to it. Technically and stylistically, it’s perfect to the smallest detail from Quentin, but that was to be expected. It is clear that he has not only seen a lot of movies, but that he can do more than just imitate, unlike Rodriguez. In particular, the idea of advancing the plot through the use of a missing film reel is ingenious and much better executed than in Planet Terror. Overall, however, I think the Grindhouse project would only benefit from both parts being shortened. Especially in the case of Tarantino's part, which is significantly better in terms of filmmaking and style, but surprisingly lags behind his colleague's more straightforward piece in terms of entertainment. (29.06.2007)

Some clever director's whim, a traditionally listenable soundtrack and occasionally nice cameos. That's all Tarantino gave me and this desperate spectacle made me so angry. Two completely identical parties of overdressed silly kittens with annoying dialogues, making even the conversations from worse of the director's scripts seem like genius. And on top of that, a main villain who disappears for long minutes, resulting in one unsexy dance and one tired car chase. The video rental weirdo has run out of ideas and becomes just a weirdo again, who enjoys watching somewhat strange movies. I don't blame him, but in that case, he shouldn't boast about any "the best" labels. More than a decade later, undoubtedly the worst Tarantino movie, fortunately meaning rock bottom, from which the only way was up, fortunately several floors up. (14.03.2008)

Just like with Kill Bill, I have to say that this kind of filmmaking completely misses the mark for me, albeit for somewhat different reasons than Tarantino's previous film. As surprising as it is that a film by a cult pop culture director is set in the blue field, it is rather proof of the absolutely exceptional position that Quentin Tarantino currently holds in the film world. While Kill Bill was a brilliantly and precisely shot trash, with gallons of blood, dynamic action, beautiful women, and a few memorable lines, and the interest and favor of film fans was no surprise, Death Proof is the least audience-friendly film, and it doesn't make any effort to win the favor of the audience, and the director made it for his own pleasure and the pleasure of the same nutcases as him. Death Proof is a tribute to a certain trash subgenre, where Tarantino, unlike the Coen brothers, doesn't play with genre principles but tries to achieve the maximum condensation and extraction of the genre essence. It is a strongly non-narrative film, where style is everything. In fact, the plot can be successfully summarized in four lines. The characters don't really have personalities and are rather types that are supposed to fit into a certain genre box. I've read something similar in small-run alternative lesbian-feminist comics from the 70s. The men who appear in the film are almost exclusively weaklings who beg for attention and sexual satisfaction from dominant women, who are characterized by strong vulgar language and are so cool that after a while it becomes boring or irritating due to the excessive stylization. The villain, according to this concept, has a macho appearance, but beneath the tough facade, he is incredibly weak and cowardly... I think the ability to captivate the average viewer is minimal, and so the current reviews are evidence that if Tarantino were to shoot a 90-minute recording of a washing machine drum spinning, there would undoubtedly be comments from users saying that at first glance they were hesitant and only understood Tarantino's creative genius in full extent after the second viewing. It doesn't make sense to judge Death Proof as a good or bad film, because Tarantino knows his craft and that is not the problem. But it is so self-centered that it is almost inedible from my point of view. Overall impression: 25%. (17.10.2009)

Terribly restrained and, mainly in the first half, boring. It was real torture sitting through the first group of girls and, until stuntman Mike (the great Kurt Russell) comes on set, nothing happens. And normally Tarantino knows how to create an atmosphere. The mysterious music and the shot of the car hidden in the darkness is much more powerful than the car revving. A change comes with the nice conversation between father (sheriff) and his first-born son (deputy), which is definitely the best of all the dialog scenes (in terms of screenplay). The second group of girls has clearly more charisma (headed by Rosario Dawson) and more fun. The icing on the cake is the final car chase which is absolute genius and breathtaking. That’s why it’s a shame that the self-centered screenwriter Tarantino has to spoil all of director Tarantino’s good work. But maybe after this kick in the ass Mr. T. will pull himself together and start work on Inglourious Basterds, because it really is high time. (05.09.2007)

Nach den Kill Bills kann sich Quentin wirklich alles leisten, und er kommt damit durch. Einschließlich eines unausgereiften 70er-Jahre-Retros als Vorspiel zu einem Werbespot für Zoë Bell in Spielfilmlänge. (20.08.2009)

As a full-fledged film it’s essentially useless, and that was not expected from Tarantino. Grindhouse excels exactly in what it should, to pay perfect homage to all possible B-movie genres and older films. You can expect amazing gimmicks (old picture, sound distortion, Kurt winking at the camera), which, mixed with quality ingredients (an excellently insane plot and stylish execution), create a decently entertaining appetizer primarily designed for hardcore fans of the director. For a regular viewer, it is still a bit unusual, even considering the fact that, from this director, are somehow expecting something to jump at you from the screen. (10.02.2008)

Tarantino bleibt sich einfach treu, da kann man nicht machen. Im Film fehlt nichts, woran ich bei ihm gewöhnt bin – Spitzen-Dialoge (Kurt Russel + wer-auch-immer, wie er den Mädchen erklärt, warum man eine Pistole tragen sollte und warum das besser sei als "irgendein Messer“), das Augenzwinkern in Richtung der Zuschauer, jede Menge Unterhaltung und eine dichte Atmosphäre, die mit dem Humor überhaupt nichts gemeinsam hat. Das Finale war auf der großen Leinwand atemberaubend. Am Ende habe ich geklatscht! P.S. Vielen Dank dem Pilsener Filmclub, dass ich beide Grindhouse-Filme so hintereinander sehen durfte, wie es Herr R. und Herr T. geplant hatten. (16.01.2008)

One of Quentin's most personal opuses, an amazingly entertaining homage to the trash cinema of Russ Mayer et al., with great sound and cinematography. It’s not very captivating in the dialogues and doesn’t form an entirely consistent whole, but every detail is a reflection of almost supernatural cinephile love and creativity (when we get bored with the conversation at the round table, we can at least enjoy the variable single take shot). A superb Russell, sexy babes and a car chase that will take your breath away. Brilliantly executed, culminating in perhaps Quentin's funniest transition to the final credits – I would love to know where that guy finds those outrageously catchy songs. (03.04.2019)

Two stars the first time, but the second time real fun, which I guess I'll really only allow Tarantino. The fact remains that Planet Terror is the better of the pair anyway, as it manages to entertain perfectly throughout. (23.03.2008)

When I saw that movie for the first time, I almost fell asleep during it. I was probably really tired. Now, for the second time, I was able to fully enjoy it, maybe because I understood a lot of references since I've seen those movies. But the main thing is that the movie is just great, especially in the calm parts, but mostly in the action sequences. Zoë Bell is an incredible stuntwoman, and here she was finally appreciated even by an ordinary viewer. (15.04.2015)

Tarantino has simply got it down. The question is what his films would be without the music, which is so brilliantly compiled every time that it takes a seemingly unremarkable scene up a notch. On the other hand, even without the music, there's still a lot of cool stuff here – whether it's the stylish cars, the silly but still pretty funny female spiel, the final car chase, or the perversely likable Kurt Russell.)) And again, I'm thinking the same thing: damn, it’s got style!!! :))) (02.09.2010)