It's impossible not to love the idealistic hero, who hides his intentions and beliefs more than his faux-leather outfit hides his true appearance.
The mixture is what makes the film work, as its whole is numerous times more efficient and effective than any of its parts could ever be.Ĭarradine, trying to shake his 'Kung-Fu' image, is fantastic as the mysterious hero, and it only helps that the writing adds layers and layers to the character as the film progresses. But it's impossible to discount its look at politics, inter-gender relations, and the de-sensitization of violence in the American landscape. It's hard to take the film seriously at times, with its goofy electronic soundtrack (inspired by ' A Clockwork Orange'), it's gags (such as Sly throwing a wad of clam sauce at a race official in disgust), it's sensationalized violence, and it's constant plays on words (provided by race commentator Junior (the great Don Steele). This low budget farce (of sorts) may stand as one of the best genre bending films of all time, a statement film if ever there were one. "Blitzkrieg!" The cry Matilda the Hun makes with every kill may be the best single word to describe this phenomenon, a display of organized chaos and anarchy that not only makes a statement on the blood lust and distrust of a generation, but also provides extreme comedy and action for its viewers. As these five face off against each other, and a terrorist faction bent on abolishing the race, hidden allegiances and politics may put an end to each and every one of them.if they don't kill each other first! Men, women, infants or the elderly, everyone is fair game. As the contestants race across the country, they accrue points not only for speed, but also for vehicular manslaughter, with various point ranges determined based on age and gender. Fans can root for Calamity Jane (Mary Woronov), Matilda the Hun (Roberta Collins), Nero the Hero (Martin Kove), Machine Gun Joe Viterbo (Sylvester Stallone as the "roughest tough guy of them all"), or the friend of the president, the man who lost a leg in '98, and an arm in '99 (and his jaw in '92, his right eye in '95, his nose and left eye in '97, and his cranium in '98): Frankenstein (David Carradine). It's the Transcontinental Road Race, in its 20th anniversary, with its five contestants in their modified (and themed) vehicles. The end result? 'Death Race 2000,' the 1975 science fiction drama romance sports action comedy directed by Paul Bartel that oozes awesome. Take one part 'The Racer,' a novel by Ib Melchior, add one part "essence of Roger Corman," shake or stir, it doesn't matter how you blend the concoction. Too bad the guy was only thirty-eight just two years older, he'd have been worth three times the points." "All right, all right, and yes-sirree! A clean hit! A perfect hit! And no pain for the target.
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