Very well executed

Although it has its amusing moments, in eneral the plot does not convince.

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

As a complete film, I'm not sure this one quite comes off, but in terms of being a love letter to grindhouse cinema, it's filled with wonderful touches throughout that make it an absolute treat for fans of 1970s exploitation flicks (which I came to love in the 80s on VHS). Touches that I loved in "Death Proof" were the faux scratched up print, the costumes that looked both contemporary and period, the missing scenes, the film's title change ("Quentin Tarantino's Thunder Bolt" that appears on screen for a split second), bad rack focusing, the film title font choice, the subtle reference to other classics like "Gone in 60 Seconds" in the film's opening title sequence or references to cheerleader and muscle car movies or to voyeuristic giallo films or even dialogue references to classics like "Vanishing Point" or "Big Wednesday," and then there's the casting of Kurt Russell, which that in and of itself is enough to evoke nostalgia from 80s Gen-Xers who should be thrilled to see Russell getting to play a badass once again. The story is one of the film's weak points, which is unusual for a Tarantino film. The story follows two separate sets of beautiful women being stalked by serial killer Stuntman Mike (Russell) and his Death Proof car, but maybe the implausible story and gaps in logic are part of Tarantino's homage to exploitation cinema. Another complaint is that some of the dialogue, particularly in the first half of the film, although entertaining didn't seem to serve either the story or character development, which Tarantino usually does so well. But again, Tarantino may just have been riffing and having fun with this freewheeling film. But for all it's flaws, this is still a highly entertaining film and it's impossible not to enjoy the badass showdown between Stuntman Mike and the second set of women, who happen to include amazing stuntwoman Zoe Bell. This film should have made Zoe Bell an action star, but that may not have happened since there are so few female action roles in Hollywood. Tarantino really knocks it out of the park with the film's final chase and action sequences, which are greatly aided by Tarantino's excellent choice of music (though the music choices throughout the film are great). If you had any misguided belief that this was a throwaway film on Tarantino's part, he again proves himself as a true "cinema guy" and does deliver some moments of pure cinema (moments that could not be captured in books, animation, comics, or any medium outside of film). Besides any scene with Russell, I think my favorite moment of the film is was when Zoe Bell is on the hood of the Dodge Charger and Tarantino has the camera go into close-up on Rosario Dawson's face, who is at first terrified by Bell on the hood and then slowly comes to the realization that Bell is loving it, as Dawson breaks out into a smile. It's a great performance by Dawson, but Tarantino's slow zoom and patience to hold on Dawson are just brilliant. Like most Tarantino films, this one features a deliciously eclectic cast, that besides Russell and Bell includes Rosario Dawson, Rose McGowan, Jordan Ladd, the underrated Mary Elizabeth Winstead, Eli Roth, Michael Parks as Earl McGraw and James Parks as Edgar McGraw, Marley Shelton, and Nicky Katt. Although this film is likely Tarantino's weakest film, it's still a solid film and well worth watching.

Art is the expression of imagination, usually in visual form, and that is exactly what this film gives. A plot based off of sheer imagination and uniqueness. People try to be so analytical when talking about A- list directors rather than try to remember just how to be entertained while watching a film. Death proof is a refreshing piece of entertainment, which is edited creatively by Sally Menke, and the characters are beautifully idiosyncratic also. In particular, Kurt Russell gives one of the most superb performance. There is 3-second scene in the film, where Russell breaks the fourth wall, and it was just genius. Please appreciate this film for what it is and don't try to nit-pick or overthink anything, just have fun.

Death Proof feels like a distillation of the things which make make Quentin Tarantino exceptional as a director. This film is wonderful, but it's almost contradictory in nature in that there isn't necessarily a narrative drive in the conventional sense. The premise and thriller tone might lead one to believe that this film will be a heart pounding thrill ride, but I think that if you walk into it with that sort of expectation you might find at a certain point that you've become a bit confused or frustrated. You might be pleasantly surprised. I was. Probably though, it would serve your experience better to understand clearly what you're getting into. One of, if not the, greatest strengths of Tarantino as a writer is his mastery of dialogue. It is perhaps the most engrossing aspects of his film making and I've yet to see a film of his that wasn't absolutely exceptional in this aspect. That's very fortunate for any viewer of this film, because the speaking to action ratio is pretty high. Easily well over an hour of this film is the simplest kind of scene, which is people talking. Talking in a bar, talking in a car, talking outside. There is no shortage of talking in this film. If you aren't a fan of the way Tarantino writes conversation then this film will be an absolute nightmare for you. For everyone else, myself included, you'll find a wonderful energy and flow to this film which drives it in a way that nonstop action and excitement really can't. There is action though. This film doesn't lack a sense of urgency in its entirety. The more conventional thriller aspects are executed very well, with the sort of recurring winks to the audience which is integral to the nature of a grindhouse send up such as this. The reservation in use of action actually gives the more adrenaline-fueled segments a nice sort of pay off after an arguably excessive amount of build up. If you find that you can't get into the conversational portion of this film, I somewhat doubt that you'll find it worthwhile to sit through it for what remains.I think the simplest way to sum up Death Proof is that it's just watchable. I of course don't mean that in a derogatory sense. It just has such a feeling of effortlessness in how it flows for nearly two hours on almost nothing but people sort of just hanging out and shooting the breeze. It's may not be a conventional thriller, but really, that's what makes it so great.

Mr. Quentin Tarantino brought back the classic slasher genre by making a film in the style of B-movies from back in the day. Starring Kurt Russell as a psycho who goes by the name of "Stuntman Mike", Death Proof sort of tricks the audience by focusing on a certain group of girls for roughly the first 40 minutes of the film until Stuntman Mike "Does his work". During the rest of the movie, Kurt Russell's character has his eyes set on another group of girls. This time however, things won't go as he expected. Compared to Tarantino's other work, Death Proof doesn't seem so great but in the end, it's a fun thriller to watch.