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For all of Paul W.S. Anderson’s many flaws as a filmmaker, he has certainly not skimped on the grit with his R-rated remake of superb cult favourite Death Race 2000. The film’s opening four-minute race sequence, complete with a voiceover cameo from David Carradine (the star of the original film), will assure viewers that this is at least a film that works as a solid slice of B-movie exploitation.
Where Death Race evidently diverges from Paul Bartel’s version is the setup itself – Jason Statham suits up as arguably the unluckiest man on Earth, a steel mill worker by the name of Jensen Ames. On the same day, Ames is made redundant, ripped off by his workplace, and framed for the murder of his wife. Furthermore, Ames is shipped off to jail, where sadistic warden Hennessey (Joan Allen) offers him his freedom if he can compete in, and survive the vicious “Death Race”, a 3-day demolition derby to the death. Naturally, his opponents are a rabble of thoroughly loathsome individuals, lead by Death Race veteran Machine Gun Joe (played by Sylvester Stallone 33 years ago, now replaced by Tyrese Gibson).
In the film’s defense, it swings along at a nifty pace, and even in its clichéd establishing scenes at the prison, it isn’t long at all before Statham is cracking skulls left and right with his dinner plate. What really makes the film work for the large part, however, is Joan Allen’s character – her modus operandi allows the film to develop more as a spiritual sequel to the original film as opposed to a remake. The film includes its fair share of references to Frankenstein, the original film’s protagonist, and it is the materialistic determination of Allen’s character that makes these nods to the original work as devoted fan service rather than shameless name dropping.
Although it would certainly be wrong to deem the film to be particularly intelligent, Anderson has included a few choice touches that carry the spirit of the original, adapting the ironic dialectic of the 1975 version to attune to a modern world. Allen’s character, for instance, despite operating the Death Race, has a staunch aversion to foul language, a none-too subtle swipe at regulatory committees such as the MPAA, under which Anderson’s films have doubtless endured scrutiny.
Death Race’s supporting cast is a rather mixed affair – Ames’ quest for survival is aided by a man known simply as Coach (Ian McShane), who is accompanied by two rather buffoonish goofball characters. The latter two characters do little for the film, even working awkwardly as comic relief, yet their screen presence is fortunately limited, and much is left to more agreeable thesp McShane, who clearly had a lot of fun with the role.
In keeping with the original, the film would not be replete without a plethora of attractive female characters, who serve as the navigators for the racers. Although their introductory scene plays out as a hilarious, incongruent mockery of many a rap music video, soon enough Case (Natalie Martinez) arrives on the scene as Ames’ guide throughout the Death Race, and for all intents and purposes, she works as eye candy, but then, not as much else.
Anderson’s take on Death Race doesn’t approach the subject matter with as much subtlety or intellect as the original film, but many will appreciate its tongue-in-cheek tact, with obvious knocks to pay-per-view violence in all of its forms. Thus, Death Race works as a generational update of a cult classic, and fans of shunts and bumps action are in for something of a treat. The film’s action scenes are commendably lengthy and chaotic to the point where Death Race is perhaps the most action-packed film of the year thus far. For all of its hyperactivity, I found myself captivated by the film’s final action scene, a wildly overblown, utterly ridiculous affair, but for the intents of its target audience, one must chalk up a sizable victory for Anderson. Moreover, the film’s plentiful death scenes are mostly played for laughs, again remaining in-tune with the dark humour of the original film.
The film’s ending is something of a cheesy, unnecessary addendum to an otherwise tight package, yet its brevity makes it an acceptable misstep. It is also a surprise that Anderson, slapped with an R-rating, has not chosen to amp the violence up to more extreme levels, given the over-the-top graphic violence of the original. Instead, Death Race is surprisingly restrained, offering the occasional splatter of gore, but largely concentration on elephantine explosions and vehicular acrobatics.
Death Race is certainly Paul W.S. Anderson’s most entertaining film of recent years – melding deftly helmed action scenes with performances that no film this unabashedly loud probably deserves, Anderson has crafted a thoroughly entertaining action film to round off the Summer.
7/10
Thanks for reading,
Reefer
Where Death Race evidently diverges from Paul Bartel’s version is the setup itself – Jason Statham suits up as arguably the unluckiest man on Earth, a steel mill worker by the name of Jensen Ames. On the same day, Ames is made redundant, ripped off by his workplace, and framed for the murder of his wife. Furthermore, Ames is shipped off to jail, where sadistic warden Hennessey (Joan Allen) offers him his freedom if he can compete in, and survive the vicious “Death Race”, a 3-day demolition derby to the death. Naturally, his opponents are a rabble of thoroughly loathsome individuals, lead by Death Race veteran Machine Gun Joe (played by Sylvester Stallone 33 years ago, now replaced by Tyrese Gibson).
In the film’s defense, it swings along at a nifty pace, and even in its clichéd establishing scenes at the prison, it isn’t long at all before Statham is cracking skulls left and right with his dinner plate. What really makes the film work for the large part, however, is Joan Allen’s character – her modus operandi allows the film to develop more as a spiritual sequel to the original film as opposed to a remake. The film includes its fair share of references to Frankenstein, the original film’s protagonist, and it is the materialistic determination of Allen’s character that makes these nods to the original work as devoted fan service rather than shameless name dropping.
Although it would certainly be wrong to deem the film to be particularly intelligent, Anderson has included a few choice touches that carry the spirit of the original, adapting the ironic dialectic of the 1975 version to attune to a modern world. Allen’s character, for instance, despite operating the Death Race, has a staunch aversion to foul language, a none-too subtle swipe at regulatory committees such as the MPAA, under which Anderson’s films have doubtless endured scrutiny.
Death Race’s supporting cast is a rather mixed affair – Ames’ quest for survival is aided by a man known simply as Coach (Ian McShane), who is accompanied by two rather buffoonish goofball characters. The latter two characters do little for the film, even working awkwardly as comic relief, yet their screen presence is fortunately limited, and much is left to more agreeable thesp McShane, who clearly had a lot of fun with the role.
In keeping with the original, the film would not be replete without a plethora of attractive female characters, who serve as the navigators for the racers. Although their introductory scene plays out as a hilarious, incongruent mockery of many a rap music video, soon enough Case (Natalie Martinez) arrives on the scene as Ames’ guide throughout the Death Race, and for all intents and purposes, she works as eye candy, but then, not as much else.
Anderson’s take on Death Race doesn’t approach the subject matter with as much subtlety or intellect as the original film, but many will appreciate its tongue-in-cheek tact, with obvious knocks to pay-per-view violence in all of its forms. Thus, Death Race works as a generational update of a cult classic, and fans of shunts and bumps action are in for something of a treat. The film’s action scenes are commendably lengthy and chaotic to the point where Death Race is perhaps the most action-packed film of the year thus far. For all of its hyperactivity, I found myself captivated by the film’s final action scene, a wildly overblown, utterly ridiculous affair, but for the intents of its target audience, one must chalk up a sizable victory for Anderson. Moreover, the film’s plentiful death scenes are mostly played for laughs, again remaining in-tune with the dark humour of the original film.
The film’s ending is something of a cheesy, unnecessary addendum to an otherwise tight package, yet its brevity makes it an acceptable misstep. It is also a surprise that Anderson, slapped with an R-rating, has not chosen to amp the violence up to more extreme levels, given the over-the-top graphic violence of the original. Instead, Death Race is surprisingly restrained, offering the occasional splatter of gore, but largely concentration on elephantine explosions and vehicular acrobatics.
Death Race is certainly Paul W.S. Anderson’s most entertaining film of recent years – melding deftly helmed action scenes with performances that no film this unabashedly loud probably deserves, Anderson has crafted a thoroughly entertaining action film to round off the Summer.
7/10
Thanks for reading,
Reefer
Death Race may be total nonsense without any of the satire and humour of the original but it was certainly watchable total nonsense.Agree Paul W.S. Anderson has made some dreadful films in the past but this is one his better efforts for sure.Its a bit like 'The Fast & The Furious' with guns.The races are so furiously edited I didn't know what the hell was going on most of the time and its louder than a Slayer concert!.Guilty pleasure of 2008 IMO,hated myself for enjoying it!.
Reefer,nice review BTW its spot on.
Reefer,nice review BTW its spot on.
Nice review, might catch this on rental later. Not really the sort of thing I'd make an effort to see in the cinema.
For all of Paul W.S. Anderson’s many flaws as a filmmaker, he has certainly not skimped on the grit with his R-rated remake of superb cult favourite Death Race 2000. The film’s opening four-minute race sequence, complete with a voiceover cameo from David Carradine (the star of the original film), will assure viewers that this is at least a film that works as a solid slice of B-movie exploitation.
Where Death Race evidently diverges from Paul Bartel’s version is the setup itself – Jason Statham suits up as arguably the unluckiest man on Earth, a steel mill worker by the name of Jensen Ames. On the same day, Ames is made redundant, ripped off by his workplace, and framed for the murder of his wife. Furthermore, Ames is shipped off to jail, where sadistic warden Hennessey (Joan Allen) offers him his freedom if he can compete in, and survive the vicious “Death Race”, a 3-day demolition derby to the death. Naturally, his opponents are a rabble of thoroughly loathsome individuals, lead by Death Race veteran Machine Gun Joe (played by Sylvester Stallone 33 years ago, now replaced by Tyrese Gibson).
In the film’s defense, it swings along at a nifty pace, and even in its clichéd establishing scenes at the prison, it isn’t long at all before Statham is cracking skulls left and right with his dinner plate. What really makes the film work for the large part, however, is Joan Allen’s character – her modus operandi allows the film to develop more as a spiritual sequel to the original film as opposed to a remake. The film includes its fair share of references to Frankenstein, the original film’s protagonist, and it is the materialistic determination of Allen’s character that makes these nods to the original work as devoted fan service rather than shameless name dropping.
Although it would certainly be wrong to deem the film to be particularly intelligent, Anderson has included a few choice touches that carry the spirit of the original, adapting the ironic dialectic of the 1975 version to attune to a modern world. Allen’s character, for instance, despite operating the Death Race, has a staunch aversion to foul language, a none-too subtle swipe at regulatory committees such as the MPAA, under which Anderson’s films have doubtless endured scrutiny.
Death Race’s supporting cast is a rather mixed affair – Ames’ quest for survival is aided by a man known simply as Coach (Ian McShane), who is accompanied by two rather buffoonish goofball characters. The latter two characters do little for the film, even working awkwardly as comic relief, yet their screen presence is fortunately limited, and much is left to more agreeable thesp McShane, who clearly had a lot of fun with the role.
In keeping with the original, the film would not be replete without a plethora of attractive female characters, who serve as the navigators for the racers. Although their introductory scene plays out as a hilarious, incongruent mockery of many a rap music video, soon enough Case (Natalie Martinez) arrives on the scene as Ames’ guide throughout the Death Race, and for all intents and purposes, she works as eye candy, but then, not as much else.
Anderson’s take on Death Race doesn’t approach the subject matter with as much subtlety or intellect as the original film, but many will appreciate its tongue-in-cheek tact, with obvious knocks to pay-per-view violence in all of its forms. Thus, Death Race works as a generational update of a cult classic, and fans of shunts and bumps action are in for something of a treat. The film’s action scenes are commendably lengthy and chaotic to the point where Death Race is perhaps the most action-packed film of the year thus far. For all of its hyperactivity, I found myself captivated by the film’s final action scene, a wildly overblown, utterly ridiculous affair, but for the intents of its target audience, one must chalk up a sizable victory for Anderson. Moreover, the film’s plentiful death scenes are mostly played for laughs, again remaining in-tune with the dark humour of the original film.
The film’s ending is something of a cheesy, unnecessary addendum to an otherwise tight package, yet its brevity makes it an acceptable misstep. It is also a surprise that Anderson, slapped with an R-rating, has not chosen to amp the violence up to more extreme levels, given the over-the-top graphic violence of the original. Instead, Death Race is surprisingly restrained, offering the occasional splatter of gore, but largely concentration on elephantine explosions and vehicular acrobatics.
Death Race is certainly Paul W.S. Anderson’s most entertaining film of recent years – melding deftly helmed action scenes with performances that no film this unabashedly loud probably deserves, Anderson has crafted a thoroughly entertaining action film to round off the Summer.
7/10
Thanks for reading,
Reefer
Where Death Race evidently diverges from Paul Bartel’s version is the setup itself – Jason Statham suits up as arguably the unluckiest man on Earth, a steel mill worker by the name of Jensen Ames. On the same day, Ames is made redundant, ripped off by his workplace, and framed for the murder of his wife. Furthermore, Ames is shipped off to jail, where sadistic warden Hennessey (Joan Allen) offers him his freedom if he can compete in, and survive the vicious “Death Race”, a 3-day demolition derby to the death. Naturally, his opponents are a rabble of thoroughly loathsome individuals, lead by Death Race veteran Machine Gun Joe (played by Sylvester Stallone 33 years ago, now replaced by Tyrese Gibson).
In the film’s defense, it swings along at a nifty pace, and even in its clichéd establishing scenes at the prison, it isn’t long at all before Statham is cracking skulls left and right with his dinner plate. What really makes the film work for the large part, however, is Joan Allen’s character – her modus operandi allows the film to develop more as a spiritual sequel to the original film as opposed to a remake. The film includes its fair share of references to Frankenstein, the original film’s protagonist, and it is the materialistic determination of Allen’s character that makes these nods to the original work as devoted fan service rather than shameless name dropping.
Although it would certainly be wrong to deem the film to be particularly intelligent, Anderson has included a few choice touches that carry the spirit of the original, adapting the ironic dialectic of the 1975 version to attune to a modern world. Allen’s character, for instance, despite operating the Death Race, has a staunch aversion to foul language, a none-too subtle swipe at regulatory committees such as the MPAA, under which Anderson’s films have doubtless endured scrutiny.
Death Race’s supporting cast is a rather mixed affair – Ames’ quest for survival is aided by a man known simply as Coach (Ian McShane), who is accompanied by two rather buffoonish goofball characters. The latter two characters do little for the film, even working awkwardly as comic relief, yet their screen presence is fortunately limited, and much is left to more agreeable thesp McShane, who clearly had a lot of fun with the role.
In keeping with the original, the film would not be replete without a plethora of attractive female characters, who serve as the navigators for the racers. Although their introductory scene plays out as a hilarious, incongruent mockery of many a rap music video, soon enough Case (Natalie Martinez) arrives on the scene as Ames’ guide throughout the Death Race, and for all intents and purposes, she works as eye candy, but then, not as much else.
Anderson’s take on Death Race doesn’t approach the subject matter with as much subtlety or intellect as the original film, but many will appreciate its tongue-in-cheek tact, with obvious knocks to pay-per-view violence in all of its forms. Thus, Death Race works as a generational update of a cult classic, and fans of shunts and bumps action are in for something of a treat. The film’s action scenes are commendably lengthy and chaotic to the point where Death Race is perhaps the most action-packed film of the year thus far. For all of its hyperactivity, I found myself captivated by the film’s final action scene, a wildly overblown, utterly ridiculous affair, but for the intents of its target audience, one must chalk up a sizable victory for Anderson. Moreover, the film’s plentiful death scenes are mostly played for laughs, again remaining in-tune with the dark humour of the original film.
The film’s ending is something of a cheesy, unnecessary addendum to an otherwise tight package, yet its brevity makes it an acceptable misstep. It is also a surprise that Anderson, slapped with an R-rating, has not chosen to amp the violence up to more extreme levels, given the over-the-top graphic violence of the original. Instead, Death Race is surprisingly restrained, offering the occasional splatter of gore, but largely concentration on elephantine explosions and vehicular acrobatics.
Death Race is certainly Paul W.S. Anderson’s most entertaining film of recent years – melding deftly helmed action scenes with performances that no film this unabashedly loud probably deserves, Anderson has crafted a thoroughly entertaining action film to round off the Summer.
7/10
Thanks for reading,
Reefer