I got around to watch Quentin Tarantino’s latest offering over the weekend. The movie was released as a double feature with Robert Rodrigues’ ‘Planet Terror’ on cinemas, and is a true homage to the grindhouse pulps of the seventies. The project failed rather badly stateside, with low attendances and wanting reviews. I can see why. Three hours of cinema usually require a tight plotline that captivate audiences. Quite recently I attended the Bergen International Film Festival, for the screening of the nominated short films. After two hours I was bored out of my mind. It’s hard to build up any interest when you constantly need to reset your attention for a different storyline.

The lack of success resulted in two separate releases for the home video market. And after watching ‘Death Proof’, I’m eager to rent ‘Planet Terror’ in the near future. Death Proof is undoubtedly a Tarantino flick, that leans hard on references to the seventies, both cinematographically and in the execution of the story. Reelmarks, weird soundbites and cutting errors – all committed on purpose to invoke a vintage feeling. The soundtrack is fitting (as always), and the cast rather unknown, apart from Kurt Russell and Rosario Dawson. Tarantino also introduces an element of absurdity, as the character Jungle Julia is using her Nokia cellphone frequently. She is played by Sydney Poitier, another promising actress.

The story is very simple, and as many of Tarantino’s films it’s more of a study than action-packed adventure. Stuntman Mike (Russell) is a worn-out stuntman, visiting bars and living life in his old stuntcar. Unfortunately, he’s also a complete psychopath, using his car as a lethal weapon. Both his bloodthirst and demise is portrayed throughout the film.

The film is split in two halves, whereas the first half contains the aforementioned image, sound and cutting faults. When the story winds up again, the picture is crystal clear. Both halves ends abruptly and surprising, and centers around the forthcoming victims of stuntman Mike. There’s a great focus on dialogue and music – often absurd and comical. And to be fair, the story moves along slowly – it’s hardly even a build-up. So when the action arrives, it’s surprising and shocking to both the audience and the main characters. Both parts of the movies starts pretty much the same way. A group of strong, foul-mouthed and sexy women on the road to destination unknown. The references to Russ Meyer’s sexplotation movies are certainly present, and the oddball ‘Faster Pussycat! Kill! Kill!’ strikes me as the events unfold. Amazons on the prowl, more or less.

After a lengthy drive, the ‘first’ team of girls wind up in a rustic bar along the highway. Nothing much has been revealed thus far, except that the character Julia hosts a radioshow, and has promised that her friend Butterfly will give up free lapdances in the bar. They’re on their way to a cabin, where no boys are allowed. The bartender is played by director Quentin Tarantino; a merry goof. Enter stuntman Mike. A seemingly harmless old-timer, who offer a friend of the girls lift home. Needless to say, thing go sour for the gang after meeting stuntman Mike. Kurt Russell is an excellent choice for the part, both trusting and sinister.

The second crew of girls seem more platonic and urbanized. They are a mixed group, and is shooting fashion images. Stuntman Mike notice them at a store, and decide to follow the group. When the girls borrow a Dodge for a test drive, and stunt double Zoe attaches herself onto the hood while in speed, Mike takes the opportunity to terrorize them. But things don’t go according to plan this time around.

Thats pretty much it. The car action sequences are spectacular, and surpasses movies like ‘Ronin’ and ‘Gone in 60 seconds’ easily. The element of insanity sees to that. But the rest is pure stalemate, sad to say. You’ve seen the lenghty dialogues before, most notably in ‘Reservoir Dogs’ and ‘Jackie Brown’. The difference is that these scenes doesn’t serve the plot. In the second half they do serve the the plot (albeit slowly), and is therefore more involving. Still, the same material could easily have been cut down to a 45 minute television show, and you wouldn’t complain a bit. It’s like when you buy a new record that turns out to hold two or three great song, while the rest is pure filler material. As much as I like tarantino’s visual style and earlier films (most of them anyways), I can’t recommend this entirely. It’s cult-material, but I would rather have you download it off the net, and watch thee cool scenes. You don’t want to encourage more of this in the future. 4/10