La Course à la mort de l'an 2000

I'm astonished by the number of reviewers who see this film as "stupid". It has one hell of a witty script, with amazingly accurate jabs at everything from media hype to uber-patriotic propaganda. Just listen to the president blaming everything on "the treacherous French and their stinking European allies". Sounds chillingly like "Freedom Fries", doesn't it?

This wonderful little gem is far more intelligent that it's usually given credit for, and certainly smarter than 99.9% of the films made today. Those who dismiss it as stupid junk because of its outrageous premise are missing the point. I haven't seen anyone write a film this smart in at least 20 years.

Death Race 2000 is, without a doubt, a camp masterpiece. Paul Bartel's energetic direction and jet black humor speed the proceedings along like the racers' custom-made autos. The photography is razor sharp, done in vivid color that beautifully captures the landscapes, rushing roads, and splatters of blood. The phenomenal cast turns in spirited performances all around, with the top prize taken by the exquisite Mary Woronov as sexy cowgirl Calamity Jane Kelly. Whether gyrating on a dance floor or going after a matador in her Bull car, she effortlessly steals every scene she's in. The only flaw in the movie (and it's a minor one) is the resistance; with so many colorful characters and hilarious dialogue and situations, you really don't care one way or the other about Thomasina Paine and her opposition forces. Still, this low-budget (about $300,000) New World opus is an audacious, wildly funny, gorgeously garish delight and an essential classic. "Go for the baby, the baby!"

Death Race 2000 is the finest example to show how easy it actually was back in the seventies to come up with a timeless cult film. Honestly, anyone could have invented an outrageously exaggerated premise like this but the fact that it was actually Roger Corman who dealt with it just proves how eminently he ruled the B-movie circuit back then. Death Race 2000 is one of the most entertaining films ever made and I, for one, can't imagine someone not loving the severely ridicule story of a coast-to-coast car race where the contesters score points by wiping pedestrians off the road. Silly, yes…but even more ingenious, flamboyant and offensive. Pure cult, in other words, and fundamental viewing for every soul who ever showed interest in extravagant film-making! The script is stuffed with imaginative findings (euthanasia day at the hospital!) and downright UNsubtle protest towards the American way of life (a factor that determines Death Race 2000 as cult even more). Considering it's a Corman production, the film also contains explicit violence, provoking messages and a truckload of sleaze! All the elements that guarantee untamed cult success! Of course it has to be said that it could have been an even better film if Corman and director Paul Bartel focused on a more proper elaboration of the versatile idea. The rivalry between Carradine and Stallone, for example, should have resulted in a more intriguing sub plot and even though DR 2000 already contains much absurdity as it is, the premise surely had potential enough to add even more sick jokes and cynical situations. David Carradine acts deliciously as always and Stallone is excellent as well. Death Race 2000 is cinema that separates the men from the boys, people! Stop exploring the cult genre in case you didn't had the time of your life watching this film.

'Death Race 2000', like 'Beyond The Valley Of The Dolls', 'The Omega Man', 'Repo Man' and 'Rock'n'Roll High School', is one of those dependable all time favourite trash classics that I watch regularly and never fail to get a smile out of. Anytime you're down just put 'Death Race 200' on and you're guaranteed to be cheered up! Directed by the late Paul Bartel ('Eating Raoul', 'Lust In The Dust')), co-produced by b-grade legend Roger Corman ('Bloody Mama', 'House Of Usher'), and co-written by Charles Griffith ('The Wild Angels', 'Little Shop Of Horrors'), this is simply one of the most enjoyable and entertaining exploitation movies of all time. The setting is the near future where a totalitarian regime keep the populace happy with a violent and extremely popular sport of hit and run car racing. The champion of the people is Frankenstein (David Carradine - 'Boxcar Bertha', 'Q') who has to race against a flamboyant group of rivals, led by his mortal enemy Machine-Gun Joe Viterbo (Sly Stallone!) who is intent on knocking him off the top. The other drivers include such cult figures as Mary Woronov ('Chopping Mall'), Roberta Collins ('Caged Heat'), Martin Kove ('The Karate Kid'), Leslie McRae ('Blood Orgy Of The She Devils') and Fred Grandy ('The Love Boat'). This is a rip roarin' non-stop action-packed black comedy that is an absolute hoot! I can't recommend this one highly enough. Essential viewing!

"Death Race 2000" is a low budget genre melting pot from 1975 starring David Carradine and Sylvester Stallone as two of five feuding race car drivers competing in a futuristic sport that is won based on racking up points from killing pedestrians and others. Based on a 1956 short story, it's a highly satiric sci-fi actioner that uses ironic and downright sadistic touches to examine America's abhorrent fascination with violence.

The ridiculously contrived and outlandish futuristic setting was put into heavy rotation during the mid-70's in several other films ("Westworld"; "Soylent Green"; "Logan's Run") as a means to tell downbeat and cynical stories that allowed the audience to escape their own reality, but still experience a certain catharsis.

In the case of "Death Race 2000" the results are a mixed bag, as the over the top material races from dark comedy to "Sleeper"-like sci-fi to undercooked romance and back again. It works because of the tongue-in-cheek direction of Paul Bartel, who would go on to helm the brilliant dark comedy "Eating Raoul". The whole thing is great fun, and has a surprising innocence underneath all of the mostly cartoonish violence.

This said, the main gripe would have to be the inconsistent pacing, as the race and the story took breaks between laps, which leaves the viewer peeking at their watch.