Capitaine X

You might have seen one of the original series of filth - the infamous Guinea Pig. Now if you know anything about these films, you will know that 87% of the series is complete shite that has little to no entertainment value. Hell, without the violence, this series would be nothing; even more shallow than it already is. He Never Dies is one of those incredibly horrible Guinea Pig films.


If I could reward that film with one merit, it would be its set-up and plot. A man who cannot die would only further a story due to immortality, am i right? Jan Kounen (Vessel driver for Vincent Cassel. Ultimate props) directed this short with the intent to create a full length film out of it. Capitaine X (1994) concerns a prisoner who is about to be executed by a roughneck group of insane soldiers.


Or at least that is what should have happened. Instead, the man continues to breathe and live through this horrible debacle thus using the many insecurities these men holster against them in a decadent battle for sanity. Which side would win is the ultimate debate. Would you rather wake up after getting shot in the head or witness an immortal as his eyes swell with hatred which could only result in a bloodbath.


The director uses a first person perspective the entire film and treats it like a fashion statement. This preemptive decision resulted in a massive increase for originality and entertainment factor. I can't imagine this film without that distinctive "through the eyes" feel. The acting is the other factor that rockets this film from cheap DIY into an excellent category of horror and sadistic comedy.


Capitaine X (Born to Die) is a premature gem crafted from a talented French director. I can only imagine Capitaine X translating into Captain X. Perhaps if we ever do see a full length version, our somber mute character will don a costume and use his invincibility to fight evil Germans in a pulp comic book saga.

-mAQ

Happiness

Todd Solondz is easily one of the most controversial contemporary American filmmakers. Despite his perverted sensibilities and obsessions, Solondz seems to rarely receive negative criticism from film critics. I guess the rationality is as long as it's contributing to the decline of morals in the United States and abroad, it's OK. Todd Solondz's Happiness, which isn't a happy film at all, attempts to dissect various Americans real hidden sexual perversions and embarrassments.

One of the main characters of Happiness is an upper middle class psychiatrist name Bill who likes to masturbate to magazines featuring "cool" pre-teen boys. Like many psychiatrist's, Bill really isn't too mentally stable himself as he likes drugging and raping young boys. Todd Solondz paints Bill's family as the ideal American family in upper middle class suburbia. Only Mr. Solondz could make such a sick joke out of the most seemingly typical of nuclear families. Dr. Bill has a bitch for a housewife that seems to have some pent up aggression from her lack of sexual activities. It must suck for a wife when her husband would rather fuck young boys.

Phillip Seymour Hoffman does an extraordinary job as a pervert that likes to jerk off whilst making dirty phone calls. This man in obsessed with his next door apartment neighbor and is willing to make a complete degenerate ass of himself while trying to obtain her love. This perverted prank caller also happens to have a beast of a woman infatuated with him. A woman that is raped by a tiny Latino man name Pedro who is about 1/3 her side. She also likes to mention how Pedro lost his penis.

Sick Pedophile or just your average psychiatrist?

Happiness features a variety of other perverts that are guaranteed to make the most desensitized of viewers feel uncomfortable. Todd Solondz manged to create an ordinary looking and constructed film that is full of the most depraved sexualities ever captured celluloid. When I say depraved sexualities, I don't mean the type you would expect to see in a Mexican surrealist film. I mean the type that you would expect to hear about on the five o clock news. Todd Solondz is a director that does the opposite of what most directors do; he confronts the harsh and unmentionable realities of our society.

-Ty E

Dolls

Dolls is a very peculiar antique from horror maestro Stuart Gordon. This film saturates the screen with horror "no-no's" and comes out on top victorious and blood-soaked. There was a boom in the 80's consisting of rental dominator's. This little genre was Toy horror. Not limited to: Puppets, Dolls, Toys, Dummies, and many many more.


Dolls is a film that I have always meant to see, but time was of a factor when I was in high school. I finally devoted an hour and 17 minutes to watching this film and I was pleasantly surprised. I went in expecting a moronic debut of drivel wrapped tight around a story that drives people (like me) giddy in ecstasy. I wasn't kidding when I said I loved killer toy films. There's this essence lurking amongst the idea that a child's vice could have "killer" psychological side-effects.

Dolls follows the same formulaic response to weary travelers that most of the genre seem to encompass. Picture this; A couple with a child is broke down outside an old house, they go in to find creepy old people that are immensely hospitable. Soon, the party van arrives with more victi-err..., more guests for the fun night that never seems to end, which is a recurring line in this film. "The longest night"


Dolls has certainly created a kind eye towards horror. Dolls went as far to inspire Sprackling's cult horror-comedy Funny Man (or at least I assume.) The main doll of Dolls is named Mr. Punch (A jester doll) and is later called a "Funny Man" which, 2+1 = obvious. The cast is quite alarming when you're first introduced. You have Ralph, the hero man-child. Judy, the heart-warming child in distress, and our very favorite Guy Rolfe aka Andre Toulon.


Dolls is an effective horror film that features a fairy tale like environment that eventually culminates into that creepy house where endless deaths occur. The shining light here isn't the actors, creepy casio themes, or the setting, but rather the amazing special effects consisting of masterful stop-motion animation. I can imagine the crew spending endless hours capturing every detail flawlessly to create that fluid movement that was only evident in the first Puppet Master.


The ending of Dolls, to me, is the happiest ending I've ever seen. Every one of the vicious parasites was exterminated and added to a mausoleum of horror while the two survivors hint towards a possible future and family together. This wasn't the happy scene, the real show-stealer was the fact that the "villains" happened to harbor a beautiful philosophy and managed to seem so nice. Truly a pair of more memorable movie maniacs.


This films scare factor hasn't aged so well. Only Isabel's death managed to unnerve me a bit. That "Dollman" scene from Child's Play 2 still manages to freak the fuck out of me. Dolls is a very surprising find for me. It's a killer doll film that has some artistic integrity hiding behind the script. This film's a keeper. From now on, I'll be glad to sleep in a room full of "antiki" dolls.

-mAQ

Babylon A.D.

What is the easiest way to make a film appear to be a saddening and thoughtful film? Put Clint Mansell's Lux Aeterna as the backdrop for the trailer and you immediately have a spicy preview that leaves no hint of odor and creates an entirely fictional theme for the film. Had you seen the trailer, the vibes would echo heavily of a supernatural Children of Men with just a hint of xXx, which may or may not had been a bad thing.


The film escalates quickly into shitty territory when our anti-hero smuggler Toorop who is hired by a typecast Russian to export a girl who is host to an organism used for a seedy religious cloning process. Along the way, Vin Diesel one-liners will be thrown out rapid-fire; almost as fast as he'd like the action scenes to be. This film is one of the most bland action films this year, second only to The Mummy: Tomb of the Dragon Emperor.


The film features another outing of the overused Michelle Yeoh who likes to force down our throats the idea of every Asian knowing martial arts. It's really pathetic. I cringed when I heard her declare that she knew how to defend herself. I'd love nothing more than to punch her square in the face while she was asleep. Other than Diesel, another star is attempted to be introduced to American audiences, and that white dwarf's name is Mélanie Thierry.


I understand that it was within her character role to play the furious pacifist that Aurora is, but she plays it off so well that she becomes the solid entity of pure frustration. Every time anyone died, she'd go off screaming for at least several minutes. It almost makes me wish Diesel had the Tak Sakaguchi (Versus star) tactic of knocking her the fuck out so the scenes wouldn't be as torturing.


It seems that Mathieu Kassovitz has what I like to call The Romero Syndrome. He creates a film that generates a lot of buzz amongst the media circuit, and as the screening date looms closer, he realizes how horrible the film actually is. Cue the rage targeting the studio system for screwing up "The Director's Vision." This has not been the only film to directly blame Fox for vandalism. It seems Fox has been under fire for attempting to screw up Wolverine and Watchmen.


Babylon A.D. wasn't too bad, that is until the second half. The first half is like a really generic sci-fi action film that has awkward fore-shadowing and situations and styles that try to give Kassovitz's films that edgy French feel. That is, with all the attempted parkour going on and graffiti. Then there's the case of incredibly embarrassing product placement as in the almost-apocalyptic future, we're still stuck on Coke Zero and Playstation.


Point is, the fatality performed on Babylon A.D. was the last half of the film. The beginning created the illusion of a moderate or at least enjoyable major motion picture, but the film has dug its own grave. R.I.P. Babylon A.D. and Mathieu Kassovitz's career. You may have created The Crimson Rivers and La Haine, but damn if you fucking suck at creating entertainment.

-mAQ

A Few Screws Loose

The only thing I expected from this film upon my dramatic and timely arrival was beautiful women, and damn did it impress on that plane. I went into this film with absolutely zero expectations and still came out completely empty-handed except for a few, and I mean few, memorable scenes.

The film has no cohesive storyline. It would rather shove explicit violence in your face, traced lightly with gorgeous nudity of the female form and the once-seen prosthetic penis, moments before it is laughably castrated. The film opens with what may the most amazing scene in low-budget horror ever. A huge, hulking Negro wielding a machete busts in on a porn shoot and begins to hack and slash his way through to his daughter who is about to be a star of a porno.

The greatest thing about the film ironically also adopts the greatest death effect.

After he is exterminated by a pathetic actor in a senior citizen mask, this "killer" becomes a serial murderer to film snuff films (which we don't find out about until the end.) This film has many flaws. I will begin to illustrate them in your mind with my vicious metaphors. The films running time is the biggest overkill.

Was this an editing mistake or what? (Screencapped by accident)

This film happens to be longer than a Nick Swardson stand up, but without the entertainment. Much of this film is a vague attempt at an experiment filming style, edited with horrible color bars and remixing much of the clips. Most of the run time is entirely unnecessary and would rather make a better short film. In fact, what better to do with a horrendously long length than fill it with amateurish gore.

Yes, this is fake.

When I say amateur, I don't mean cheapie intestine pulling, I mean paper-mache heads getting crushed in and obvious dummies getting ravaged with weapons. But with every flaw, a single beautiful nude women appears, and for this, I cannot thank Craig McIntyre enough for replacing this trife film making with nude hotties.

Please love me...

Honestly, the women that compliment this film assisted in helping me finish this film. It's not entirely as bad as I exclaim it to be. Remember, I'm a jaded cynic. In fact, a lot of our readers might even enjoy it, but I need something more than a ridiculous storyline and gore to please me. Here is an abridged version of the script for our readers.

INT. RANCID APARTMENT

CAMERA GUY: Hey, I'm filming an amateur porn film. Excuse me while I belittle this "African-American LOL" by constantly calling her a slut and whore while the audience gets entirely solid misogynist vibes.

ACTOR: FUCK! A giant colored gentleman just broke down the door and is hacking up my co-star while I sit here and cower like the lesser race that I am. It sucks being white.

ACTOR's paper arm is then amputated pathetically with a machete.

CAMERA GUY dons a mask and magically morphs into a serial killer and kills EVERYONE except the armless guy. They then form a TEAM in killing and exploiting women.

EXT. SOME FUCKING CITY

RANDOM MALE: RAHHH, My unapparent porn-star girlfriend was murdered unbeknownst to my knowledge, but I will train in a horrible montage to exact revenge upon a woman I have no idea is dead and the killers whose identity is unknown

Uneventful events then happen.

Fin

The film owes a great debt to various porn-gone-wrong films such as the recent Amateur Porn Star Killer, A Hole in my Heart, and the obscure Psycho: The Snuff Reels (Niku Daruma.) The gore effects range from horrible to effective. Basically, you're settling for a grab bag of random violence coated lightly with T n' A, which can be a reasonable sacrifice.

Does this excite you? Good, you'll see lots of these in alternating colors.

The film making style heavily reminds me of the style Bam Margera used for his moderately successful film Haggard. While I respect Haggard a bit more, it boils down to the same annoying formula as Jackass with a story would have been. The same mistake that most low-budget horror films make has been exploited to full effect in A Few Screws Loose.

Rule 1 of Low Budget Horror:
Never, and I mean NEVER... put Grindcore or any type of metal on your soundtrack.
Not only will it completely destroy any sort of tension and emotion that your film may have carried, but it will also make you seem inept at picking up a keyboard and generating your own effective soundtrack & score.

A Few Screws Loose is a film I can't recommend at all. I love the women in the film. In fact, they generate a Russ Meyer-ish mood to enjoy while pretending the rest of the film didn't happen. I can see Craig engineering a new film that doesn't have so many flaws. In fact, I recommend that he take the enjoyable aspects from this film and create new life. He should take the Negro killer and make a blaxploitation horror film out of him. That would be perfect.

-mAQ

Henry: Portrait of a Serial Killer

Henry: Portrait of a Serial Killer is an indisputable classic of the unofficial serial killer sub-genre. The film is based on the sick escapades of real life serial killers Henry Lee Lucas and Ottis Toole. Both of these disturbed and all around fucked up individuals easily rank as two of the most infamous serial killers to grace the asphalt roads of the United States. Henry: Portrait of a a Serial Killer is actually tamer in regards to the real criminal acts of the two portrayed serial killers.

The dialogue featured in Henry: Portrait of a Serial Killer is sparse yet brilliant. One of my favorite lines happens when Becky, sister of Ottis and love interest of Henry, asks Henry "Did you really kill your mama?" Henry admits he did kill his mother during this conversation and states, "Yeah. I killed my mama. One night. It was my 14th birthday. She was drunk, and we had an argument. She hit me with a whiskey bottle. I shot her. I shot her dead." Somehow Henry forgets how he killed his mother in this same conversation. I dare anyone else to find another serial killer film with such genius dialogue and conversations.


Surprisingly, Henry is not the most deranged of characters in Henry: Portrait of a Serial Killer. Ottis is into murder, homosexuality, and sadomasochistic incest. He spends his days drinking beer and kicking in TV screens. Ottis Toole, despite his lack of humanity, is no doubt a true American. Henry and Ottis have a good serial killer relationship at first, but mental illness is bound to make one of these fellows snap. Henry is forced to put a little disciplinary action on Ottis that has deadly results.


The music featured is Henry: Portrait of a Serial Killer is a sort of eerie corny style that parallels the feeling of the overall film. Despite the films lack of budget, all of the artistic variables add up right. There is nothing more soothing than when Henry and Ottis drive down the road as the score of Henry: Portrait of a Serial Killer powers the scene. Henry and Ottis are the real Night Stalkers.

Henry: Portrait of a Serial Killer is a classic and masterpiece of the horror genre. It is a film that follows the habits of a real nomadic serial killer in pathetic depth. Serial killers aren't mystical geniuses with some type of black magic power. Most of them are white trash individuals that were abused as children and of course latent homosexuals. I salute Henry: Portrait of a Serial Killer director John McNaughton for directing such a sick and solid film.

-Ty E

The Rules of Attraction

The Rules of Attraction is easily the best “college” film. Unlike most college films, the students in this film actually got somewhat of an education. Most college films deal with a pathetic individual who is incapable of doing school work so he schemes a way out of it. The Rules of Attraction skips the school aspect of college and completely goes for the social. The film is an initiation into the world of dark American hedonism full of sex, drugs, and “Rock & Roll.” These is the only real education American colleges give.

Sean Bateman (brother of Patrick Bateman from American Psycho) is a swell womanizing drug dealer who likes to smoke a lot of dope. He’s in love with an ethnic virgin by the name of Lauren who enjoys looking at books full of sexually transmitted diseases. Paul Denton, a suave and stylish homosexual also has his eyes on Sean Bateman. Paul likes Sean because he’s a dirty boy and looks like “he can’t remember whether he’s catholic or not.” Obviously The Rules of Attraction features of variety of other sex scenes that aren’t exactly to the liking of the main characters.


Kevin Arnold from The Wonder Years almost makes an appearance in The Rules of Attraction as a college student shooting heroin in between his toes in his underwear. Mr. Arnold is watching Robert Wiene’s German expressionist masterpiece The Cabinet of Dr. Caligari during his trip to opium heaven. The Rules of Attraction director Roger Avary also showed tribute to F.W. Murnau’s Nosferatu in Killing Zoe. Avary’s love for German expressionism hardly shows up in his actual filmmaking techniques.


The Rules of Attraction features a variety of experimental editing techniques which range from innovative to failing. Either way, I much preferred the editing in The Rules of Attraction to most of the Soviet Montage ADHD style editing too prevalent in contemporary films. A lot of the editing also works well as a tool that interacts with the “connections” between the individuals in the story. I especially liked the editing sequences of the shy girl who decides to end her life early. These editing montages recap her earlier appearances in the film which are easy to miss the first time around.

The Rules of Attraction is a fairly conventional yet quality film. I find myself coming back to it a couple times a year. I once told a cheerleader that I liked the film and she told me it was depressing. It is about time someone made a serious college film and surprisingly Roger Avary was the man to do it. Finally, a college film that acknowledges all of the rape that happens on campus.

-Ty E

Storytelling

Todd Solondz’s Storytelling tells two special stories blending “fact” and “fiction.” In today’s so-called “postmodern” world, fact and fiction have started to blur. A piece of filth like Michael Moore’s Sicko is a great example of something claiming to be “fact“ but going in the direction of “fiction.” YouTube is also full of videos that make one wonder what is real and what isn’t. In today’s world, it doesn’t matter if something is real. What matters is if someone is willing to believe it’s real. Todd Solondz takes a somewhat politically incorrect approach to examining the difference between “fact” and “fiction” with Storytelling.

The first half of Storytelling is called “fiction.” This half of the film follows a white girl at your typical liberal arts school. She dates a boy with a physical handicap, she has pink hair, and she promotes various forms of diversity (or weakness). Essentially, this girl is your typical naïve college girl that falls prey to the lie that is liberal arts cultural Marxism. Eventually she lands into the bedroom of her very angry and large Negro college professor. He has written a book called A Sunday Lynching and is typical of your angry black professor.


“NIGGER FUCK ME HARD” is what the black professor forces his pupil to say while reaming her from behind. The girl fought racism by getting raped by her black teacher as she has embraced multiculturalism to it’s fullest. Sadly, she goes back to her handicapped boyfriend and cries. Fortunately, the unexpected sexual experience enables her to do the best writing of her life. The students are offended by the “fictional” story, then the girl blurts out that it actually happened. The Negro professor then affirms that once something is on paper, it is fiction.

The second half of Storytelling, “Non-fiction,” follows a well off Jewish Zionist family from New Jersey. The son in the family, Scooby, is a very apathetic fellow. He allows homosexuals to blow him for just the hell of it. He also enjoys categorizing his CD collection on weekends. Scooby seems to have an admiration for Adolf Hitler as if it wasn’t for Hitler, Scooby would have never been born. Director Todd Solondz was brought up a Jew and had ambitions of being a Rabbi at an early age. With “Non-fiction”, Solondz doesn’t hold back in his critique on the modern day American Jewish family.


“Non-fiction” follows a loser documentary filmmaker filming a documentary about Scooby and his family. The documentary almost immediately becomes an exploitation as many documentaries are. American Movie documentary star Mike Schank is also featured in “Non-fiction.” This is no surprise as Schank was kind of exploited in American Movie. I recall a bitchy young Jewish liberal professor I once had that fell into hysterics as she laughed at such a pathetic man of European descent. Still, American Movie is one of the greatest American documentaries.

An elderly Hispanic woman takes revenge against a Bourgeoisie Jewish family in Storytelling

Todd Solondz has yet to make a bad film, and Storytelling is a great example of that. In these modern days of cultural Marxism and authoritarian censorship, it is hard to find an artist that is willing to stand up to Hollywood. Todd Solondz is just lucky that he had a Bar Mitzvah, as he has a little more freedom. When watching Selma Blair get plowed by a gigantic Afro-American, just remind yourself “It’s only a movie.”

-Ty E

No Mercy for the Rude

At the top 10 of each genre lies at least one Korean film. With me, it is an escalated science. Koreans take ingenious ideas and with that, forge myth with matter in lines of technical aspects, thus creating a potent story backed mostly by stunning visuals. Ha-kyun Sin - Korean actor of personal favorite Save the Green Planet! - stars in the almost comedy that is No Mercy for the Rude.


No Mercy for the Rude concerns a single man who is the highlight of our story. He grows up as a mute due to a genetic disfigurement leaving him with a short tongue. In order to save up for tongue surgery, he becomes a die hard assassin whose strict moral code leaves him only killing rude people. As one's mind might wonder about who deserves the label "rude", the film should be retitled No Mercy for Thugs.


Our character is a cold soul. One who kills with out mercy, and one who strives to be a matador. The hypocrisy kicks in once this "rude" killer starts assassinating people, laying his swift knife of judgment upon anyone he disapproves of. The film feels like a three-part saga much like this years The Signal. The first half is a funny and uplifting comedy. The middle is like a scorching family drama, and the climax is a saddening trial of love, left with an ending worthy of The Believer's fame.


The scene-stealer here isn't the aptly named mute assassin Killa, but his colleague in crime who is disappointingly unnameable. Blame it on the translation issues, not me. His friend and partner is a once Ballet student who has used his old style of dance to elevate his sword & dagger play to a dangerous level, and in turn he creates an art form out of killing, whereas our Killa just thrusts knives into chests.


No Mercy for the Rude is by no means perfect. It transcends the line between good and great and nestles in it's own place. This film has a bold flavor. Whether you crave and accept it is your choice. This film at least comes recommended for the hilarious introduction and the somber ending.

-mAQ

Undisputed

As a rabid fan of cinema, my knowledge of film knows no bounds. I watch at least 1 film a day, regardless if I'm even at work. In my frequent studies, I have generated an endless repertoire of cinema related know-hows and likings. What started as a lust for arthouse films and avant-garde oddities soon expanded into the undying action genre, not just any action, but black action.


Undisputed is a contender for heavyweight action film of the world. It's one of those films that have no limits on entertainment or career-turning performances. Undisputed is that one popular film amongst urban audiences that hasn't generated much publicity and bombed in the box office thanks to Shyamalan's Signs. In the year 2006, a DTV sequel was released which I had no interest at viewing and purposely avoided like the plague.

Undisputed is a simple structured film based on the legacy of reputation. The plot in a few sentences: Ving Rhames is the heavyweight champion of the world, gets convicted of date rape and is sent to Sweetwater prison. There, he gets in a prison match with former champion and undefeated Monroe (Snipes). This film is, at heart, a boxing film strategically forged to please action fans.


Walter Hill (The Warriors) has created a film that not only entertains me, but also moves me. You might be oblivious to the emotions behind this film, but I'm not. The melancholy that is always apparent within Monroe is only an addition to his fighter spirit. Undisputed owes a lot to similar film In Hell starring Van Damme. Both of these are worthy prison fighting films but In Hell is a much darker experience.


Undisputed is a sucker punch in the face for anyone who expects any less. This is a film that throws in various makeshift elements in order to diversify the film, the only difference is that it works. Wesley Snipes plays a spiritual fighter who builds toothpick structures and Ving Rhames plays the bad ass douche bag, and together they create the greatest boxing film ever.

-mAQ

Death Race

At the helm of this schlocky (not the compliment you'd come to expect) racing action film is world renowned action star Jason Statham whose primary goal is to drive this film somewhere other than in the gutter. It works to a degree before the other cast subsequently drags him and this movie into a homo-erotic prison hell.


Death Race is an exercise in gambling with property rights. When you take a director with a horrifying reputation in Hollywood with such blunders as the ill-fated Resident Evil and the too-tacky Mortal Kombat, chances are that your remake has no chances. The machine is just designed that way. Where Paul W. S. Anderson shows for no talent, he too can create an awesome film (Event Horizon) and completely disregard something he had briefly called talent.


Remakes have and always will be there. It's been that way for years. The only difference now is the quality and quantity of them. I'm sure in about 10-20 years, our collective society will look back upon the film era and scoff at the insubordination and lack of creativity when it comes to our modern film. If there were to be one rule of remakes, it should be to not insult the original vision and that is exactly what Anderson does.


You might recall the classic exploitation original - Death Race 2000. You might also remember the wonderful point system, surprising political messages, and the wonderful system provided by Frank and Machine Gun Joe as to shelter the truth on which is hero or villain. Well, take Machine Gun Joe for instance. Sylvester Stallone plays a wonderful womanizer who is as cocky as he is arrogant. Well, now he's a homosexual Negro who jive talks his way out of tight situations.

It's like Anderson purposely wanted to make a vision of Death Race 2000 opposite of what it was. Terrible news - He succeeded. Jail bait Latino women are introduced as navigators, not the reserved daughters of America that we recall from the classic. These women are gang-banging thugs that are street wise and sexy. They aint mind poppin a cap (Napalm canister) inna foo's ass. Sounds like Michael Bay wrote the script, don't it?

For the defense of entertainment, this "reboot" (which has a lawsuit filed on it from stealing a ideas from a film called Joust) has what we expect from the trailer, violence, bloodshed, high-octane car chases, and lots of bullet casings. They threw in the MTV generation women for shits & giggles. Keep in mind that most of the gross revenue that this film will make is from men. Men who read Maxim none-the-less.


The concept of a freedom fighting Frankenstein conserving his country's freedom looks great on paper, not so much a pyramid scheme to fake Frankenstein to keep the illusion alive. The vision of this film is blurred and scratched. Paul W. S. Anderson is a dying breed. One can only hope that these fascist directors are weeded out by their roots. Death Race is loud and annoying, frenetic and a bit full of itself. The film still manages to be entertaining, but I would never recommend paying for it or for die-hard fans of the original.

-mAQ