Grindhouse Presents, Death Proof - Extended and Unrated (Two-Disc Special Edition)

DVD : Grindhouse Presents, Death Proof - Extended and Unrated (Two-Disc Special Edition)

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Grindhouse Presents, Death Proof - Extended and Unrated (Two-Disc Special Edition)

starring: Kurt Russell, Rosario Dawson, Rose McGowan
directed by: Quentin Tarantino




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List Price: $14.95
Your Price: $9.99
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Average Rating:  out of 5 stars
Sales Rank: 1171







Aspect Ratio: 2.35:1
Audience Rating: Unrated
Binding: DVD
Brand: WELLSPRING/GENIUS
EAN: 0796019803885
Format: Closed-captioned, Color, Widescreen, NTSC
Label: The Weinstein Company
Manufacturer: The Weinstein Company
Number Of Items: 2
Publisher: The Weinstein Company
Region Code: 1
Release Date: September 18, 2007
Running Time: 113 minutes
Sales Rank: 1171
Studio: The Weinstein Company
Theatrical Release Date: April 06, 2007




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Editorial Review:

Description:
A deranged stuntman stalks his victims from the safety of his killer car, but when he picks on the wrong group of badass babes, all bets are off in an adrenaline-pumping, high speed, white-knuckle automotive duel of epic proportions, where anything can happen.

Amazon.com:
Loud, fast, and proudly out of control, Grindhouse is a tribute to the low-budget exploitation movies that lurked at drive-ins and inner city theaters in the '60s and early '70s. Writers/directors Quentin Tarantino (Kill Bill) and Robert Rodriguez (Sin City) cooked up this three-hour double feature as a way to pay homage to these films, and the end result manages to evoke the down-and-dirty vibe of the original films for an audience that may be too young to remember them. Tarantino's Death Proof is the mellower of the two, relatively speaking; it's wordier (as to be expected) and rife with pulp/comic book posturing and eminently quotable dialogue. It also features a terrific lead performance by Kurt Russell as a homicidal stunt man whose weapon of choice is a souped-up car. Tarantino's affection for his own dialogue slows down the action at times, but he does provide showy roles for a host of likable actresses, including Rosario Dawson, Mary Elizabeth Winstead, Rose McGowan, Sydney Poitier, and newcomer Zoe Bell, who was Uma Thurman's stunt double in Kill Bill. Detractors may decry the rampant violence and latch onto a sexist undertone in Tarantino's feature, but for those viewers who grew up watching these types of films in either theaters or on VHS, such elements will be probably be more of a virtue than a detrimental factor. -- Paul Gaita









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Customer Reviews
Average Rating:  out of 5 stars

Rating: 1 out of 5 stars - I don't even want to give this film one star.
A little backstory on why I even watched this film. My fiance was a fine arts/art history major in college and I was at a party with a mess of her friends after a gallery show of theirs. We got to talking about movies and this film came up, as it had just been released in the theaters. I stuck my foot in my mouth by making a snap judgement in from of a couple of artsy fartsys who would rather try to present this movie as a gift from god than the utter piece of garbage it is. They got on my case about it so I eventually borrowed it from a friend who likes a lot of movie's I think are completelly shallow and pointless(300...yes I said 300). Anyways, so I gave it a chance. Needless to say I do not regret jumping the gun on this movie as it is probably the dumbest idea for a film ever created, except perhaps anything done by the imbecilical Larry the Cable Guy.

There is nothing redeeming about this movie. There is no story, no plot worth mentioning, and the fact that anyone in Hollywood thought it was a good idea to give money to the director who found it genius to put an assualt rifle in a woman's leg is just a sign of the times as far as people's entertainment value goes. This film is POINTLESS, I'm sorry, it really is. I love Kill Bill Vol. 1&2, but enough is enough. Tarantino is one flew over the cuckoo's nest and deserves no praise for this terrible excuse for a film.

If you into thing's like Deathrace, Sin City, or the new punisher movie comign out that use cool filming techniques to take the focus off the poor subject matter, then you will like this movie.

If you are looking for something with an involving story, characters, and or anything that you might show your children because it is so thoguht provoking or relevant, then you need not look here folks.



Rating: 4 out of 5 stars - People (Reviewers) forget they are watching film noir Great stuff
* I think because It's got that grain In the film like It's an old film IS FOR A REASON these reviewers forget. They are looking for a slickly produced fast paced money making thrill ride. NOT THE MOVIE HE'S MAKING!
Notice the black & white scenes.
This was done great for what Quenton was trying to do.
I do agree about the \"Why Does He Have To Have A Sensless Part In Every Movie.\"
It's not a 5 star movie No but It's not trying to be.
And people are right the counterpart to this movie Rodrigous \"Planet Terror\" film was better! 5 star. Rose McGowan Is hot In both!! But has a much bigger part with the machine gun leg In Planet Terror. Good Luck
If your a fan you have nothing to worry about. ...



Rating: 3 out of 5 stars - Entertaining, A High Velocity Kinda Ride
Quentin Tarantino's "Death Proof" displays a great exploitation film.
Kurt Russell stars as a psychotic, maniacal stunt driver. He enjoys high speed pursuits racking up terror, and delivering his sinister glares. The film is really simple in nature, entertaining enough to view a few times over. Slabbing the 'grindhouse' name in order to authenticate its manor may of hurt its success, but it really is a decent worthwhile film. Movies of this nature are becoming rarer, and many are often utter garbage. Always nice to see a decent one.

Character development actually happens, and slow moments are only to further develop characters. The movie though relatively moves swiftly, maintaining the classic cars and chases as its focus. The film seems to come in two parts, my first time viewing it I had no idea of the first half. Overall it has been greeted with much air time on many movie channels, check it out. If you like what you see purchase it!





Rating: 5 out of 5 stars - Loved and if your a fan of Grindhouse films its even better
* I really love these type of films and Tarantinos films. He is truly a great filmmaker. This movie is a bit slow but its fun, its also a great homage to all those exploitation and Grindhouse films. Most people would not like this kind of film I can understand why but for me its genius. ...



Rating: 5 out of 5 stars - Grindhouse: Get the Two in One
Admittedly, Quentin Tarantino can be irritating. He's a weak-jawed geek who believes his own press clippings (and thinks he's tough guy because he makes action flicks). And he's also a screamer - an actor who can't stop shouting on screen.

But I've never met him, so maybe I'm being presumptive.

Because whether Tarantino is a jackass doesn't matter. The man makes dynamite movies - from "Reservoir Dogs" (1992) to "Pulp Fiction" (1994). He makes those guilty pleasure flicks filled with great lines, fast action, and superb acting. As a director he yanks the gusto out of his actors. John Travolta should send him Christmas cards for saving his career.

That brings us to "Grindhouse" (2007).

All the credit can't go to Tarantino, of course, as he co-directed "Grindhouse" with the talented Robert Rodriguez. But the movie is an achievement of writing, directing, and acting.

The concept is brilliant - a throwback to the 1970s drive-in B-movies (called grindhouses in the industry). The movie meshes two exploitation classics: a serial killer revenge flick and a zombie splatter fest. Sprinkle in some pop references and ironic dialog with a dash of dark humor and you've got a roller coaster ride of a movie.

The movie looks like a film pulled out of a rusty canister - complete with missing reels and burnt celluloid. There are fake trailers for movies with names like "Machete" and "Werewolf Women of the SS."

But the movie flopped. It brought in a meager $25 million and cost more than double that to make. There was just too much going on in "Grindhouse." For 191 minutes there were the two movies, the trailers, and an intermission. It was a glorious effort - but it was just asking too much of the viewer.

But all that's been fixed with the DVD release of Tarantino's "Death Proof" and Rodriguez's "Planet Terror." Rather than sawed-off versions - we get full length features. Both movies are better off longer.

Death Proof

"Death Proof" is the best Kurt Russell movie in long time - one where he gets his Snake Plisskin mojo back. He plays Stuntman Mike, a charming viper of a misogynist serial killer. Stuntman Mike - gored face and all - has a black "death proof" car with a cage inside it. He likes to put women in the cage and then drive really fast, braking, and cornering until he's basically turned his female passengers into hamburger.

This snippet of dialog sings:

Mike: Well, Pam, which way are you going, left or right?
Pam: Right.
Mike: Oh, that's too bad.
Pam: Why?
Mike: Because it was a 50-50 shot on whether you'd be going left or right. You see we're both going left. You could have just as easily been going left, too. And if that was the case, it would have been a while before you started getting scared. But since you're going the other way, I'm afraid you're going have to start getting scared - immediately.

Stuntman Mike then proceeds to give Pam a ride she'll never forget (or, in fact, survive). "Death Proof" is actually two movies. The first half is about how Stuntman Mike stalks, charms, and then murders a group of four female friends.

The next half he's up to his old tricks with another group of four women. But two of these women are Hollywood stunt drivers - and they know how to fight (and drive) back. The ending is worthy of any revenge flick in existence.

But what makes the film work? Character and dialog. Two things that were given short shift in the original version.

Planet Terror

"Planet Terror" is Rodriguez's homage to the gore-infused horror movie. The plot is secondary (it has something to do with a chemical being unleashed and turning the innocent into flesh-eating zombies). There're lots and lots of blood - and black humor (Jeff Fahey as a barbeque chef is outrageous).

Rodriguez shines with the small moments - the love scene between the protagonists (Freddie Rodriguez and Rose McGowan) is a high in low-brow. McGowan's character has had her leg severed and a broom handle shoved into her stump as a replacement. Ridiculous camp at it's best.

Then there's Bruce Willis in a self-parody. There's Freddy Rodriguez mounting a mini-motor scooter as he zips down the highway firing bullets into the heads of zombies. There's Tarantino himself (shouting per usual) playing to type as a rapist thug.

But most of all there's energy. The throttle is open wide and "Planet Terror" doesn't stop.

So while "Grindhouse" had its challenges as one movie - do yourself a favor and get both these DVDs for a true grindhouse double feature.

Like literate blather about books and movies? Then get your butt over to the Dark Party Review.

Edition) Special (Two-Disc Unrated and Extended - Proof Death Presents, Grindhouse


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Alienware's flagship gaming laptop, the Area-51 m9750, has plenty of appeal for high-end gamers, but the alien head aesthetic seems dated, and newer components are right around the corner.

The rise and fall of muni-Fi (and rise again): Clearly, the largest story involving Wi-Fi in 2007 was the at-first continued growth in cities awarding contracts with no money involved on their part to have service providers build Wi-Fi networks--and the subsequent failure of these networks to be built. Starting quietly in late 2006, the market shifted for metro-scale Wi-Fi. During 2007, providers decided that bearing the full cost of a city-wide network without city contracts wasn't financially sensible.

The full scope of the low uptake rates in cities that had large portions of the network built out also became clear: rather than 15 to 35 percent of residents subscribing, just a few percentage points would put a network in the top tier. Revenue is apparently also pretty minimal even in cities like Taipei, Taiwan, the network provider for which was predicting 250,000 subscribers by the end of 2006, and had just 30,000 regular users each month at last public report in early 2007.

MetroFi started to tell cities that without an advance service commitment at a minimum level -- an anchor tenancy -- the company couldn't proceed on networks. In 2007, MetroFi lost half a dozen bids or saw contracts canceled due to this change. Its work in Portland, Ore., the biggest network it was building, won't be extended beyond current limited dimensions until additional capital or a city commitment is obtained; the city has said it won't commit to service fees, however.

Meanwhile, EarthLink lost its CEO Garry Betty in January due to cancer. A strong backer of new initiatives to change EarthLink's core business, his death was certainly one of the causes in a quick re-evaluation of the municipal wireless division. New CEO Rolla Huff pulled EarthLink out of new deals, suspended existing ones, laid off hundreds of employees while gutting the metro Wi-Fi division, and appears poised to leave currently built or underway networks, including their flagship Philadelphia effort. They may sell the division, but it's hard to see much worth in it given the current state.

In a smaller bit of news, Kite Networks, formerly known by various names, was sold by parent MobilePro to Gobility with conditions that according to SEC filings by MobilePro weren't met. Kite was once high flying, in the company of EarthLink and MetroFi as one of the major U.S. Wi-Fi network builders. Now it's still in that company, with work on its Arizona networks apparently halted. A suitor has emerged in the form of a regional telecom that specializes in the Hispanophone market (double entendre intended), and which thinks it could boost Tempe subscriptions from the current several hundred to about 300 times that number. Hope springs eternal.

And while AT&T was able to launch a Riverside, Calif., network with MetroFi handling the installation and operation, it backed out of St. Louis, Mo., due to a utility pole problem, and the bidding in Chicago, too. The Metro Connect consortiums in Sacramento and Silcion Valley were unable to raise financing despite the apparent blue-chip participation by Cisco, IBM, and Intel.

County-wide Wi-Fi was also hit again and again by providers who pulled out--CenturyTel in Pierce County, Wash., for instance--or problems with technology or utility poles. In a few scattered areas, Wi-Fi across counties has been built out, but it's not an idea whose time has yet come.

Muni-Fi isn't down for the count. While these high-profile networks in large cities and county-wide networks have mostly hit the skids, more modest networks with well-defined goals continue to be built with a focus on public safety and municipal uses in hundreds of small and medium-sized towns. Brookline, Mass., may be a good example, in which a public safety/public access network was built relatively quickly and with no reported problems.

And there's one big city success story: Minneapolis, Minn. While local provider US Internet wound up spending more than they'd intended, reports from the ground indicate that service works quite well, and subscriptions and interest are quite high. The company was able to respond almost instantly to the bridge collapse a few months ago by deploying additional mesh infrastructure to add network capacity in the area. And it says that it could reach positive cash flow in early 2008. One of their advantages? They secured a substantial commitment from the city for the services they built.

Other trends of the year gone by: Music and Wi-Fi are clearly more aligned, with the new Zune models and firmware from Microsoft allowing wireless sync (but not yet Wi-Fi purchases), and the introduction of both the Apple iPhone and iTunes touch, which allow music purchases over Wi-Fi but not synchronization. (While the MusicGremlin preceded both the Zune and iPhone/iPod options, it didn't seem to gain any market traction in 2007.)

Security continues to be a concern in 2007, although less of one as home users have clearly accepted WPA Personal, at long last, and networks are increasingly encrypted through better software from major hardware manufacturers. Wizards make encryption a no-brainer, when they work. Corporations stung by reports and by requirements from credit card issuers are also clearly protecting their networks better, although I'm sure we'll still see breaches at those firms that didn't cross every "t."

The 802.11n standard's emergence into an interim certified Wi-Fi state was also a significant milestone for faster wireless networking. Shipments of Draft 802.11n products in 2007 increased significantly, while prices dropped so much that it makes perfect sense to purchase a $50 to $80 Draft N router than a comparable G unit. Manufacturers made it clear as the year progressed that hardware sold today should generally be firmware upgradable to whatever the final, not much changed 802.11n standard is when approved in 2008.

Gadget-Fi continued on the rise, as an increasing array of devices included Wi-Fi as a connectivity option. Most notably, T-Mobile launched its HotSpot@Home service, the largest scale offering of converged cell/Wi-Fi calling. By year's end, they had four handsets for sale--two plain, a BlackBerry, and a clamshell--but subscriber numbers are unknown.

What's coming in 2008?

In-flight Internet (over Wi-Fi): 2008 is finally the year. It was supposed to be 2005. Or maybe 2002. But we should see a number of planes, mostly flying over the U.S., equipped with either in-flight Internet access or in-flight text messaging and text email. Connexion by Boeing's failure fortunately didn't discourage a half a dozen competitors who were in the R&D phase when Boeing wrote off its satellite-based Internet access venture.

AirCell, Row 44, OnAir, Aeromobile, Panasonic Avionics, and a T-Mobile consortium are among the announced or nearly announced firms with commitments or trials underway. AirCell and Row 44, focused on the U.S. market, plan to deliver Internet not voice to fuselages; OnAir and Aeromobile are working on mobile-based services, including voice, via existing cell phones and devices.

In 2008, American, Alaska, and Virgin America will launch trials over the U.S., and potentially move into production. OnAir should be expanding in Europe beyond the single French aircraft that's equipped in a trial now to RyanAir's fleet. And Aeromobile's Qantas trial could turn into real usage. There's likely action that will happen in Asia and the Middle East, too, that's not yet disclosed.

Other trends to watch

Wi-Fi in every smartphone with better integration. The iPhone was the leading edge, pun intended, offering 2.5G EDGE cell networking as part of the subscription price, along with seamless roaming to Wi-Fi networks. With RIM finally offering BlackBerry models with Wi-Fi, it's unlikely that any future smartphone model intended for serious users would lack the option.

Wi-Fi everywhere. Despite the setbacks in municipal Wi-Fi, wireless networks continue to expand, with better and better coverage found across larger areas and more locations. 2008 might be the year of hotspot saturation.

WiMax arrives. In 2008, we'll finally see production mobile WiMax in action in the U.S., and the questions about whether it works well enough and fast enough at the right price to beat current generation cell data networks, and make money for the disorganized Sprint Nextel will be answered. More certainly, Clearwire, with WiMax as its only option, will push aggressively to steal customers away from fixed, wired broadband, especially in markets with little competition.

Gadget-Fi a go-go. Wi-Fi will become an expected part of gaming consoles (already found in a few), cameras (found in crippled form in just a handful), regular cell phones (in dozens and dozens now), and music players (with more full functionality).







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Filmmaker Robert Zemeckis topped his breakaway hit Romancing the Stone with Back to the Future, a joyous comedy with a dazzling hook: what would it be like to meet your parents in their youth? Billed as a special-effects comedy, the imaginative film (the top box-office smash of 1985) has staying power because of the heart behind Zemeckis and Bob Gale's script. High schooler Marty McFly (Michael J. Fox, during the height of his TV success) is catapulted back to the '50s where he sees his parents in their teens, and accidentally changes the history of how Mom and Dad met. Filled with the humorous ideology of the '50s, filtered through the knowledge of the '80s (actor Ronald Reagan is president, ha!), the film comes off as a Twilight Zone episode written by Preston Sturges. Filled with memorable effects and two wonderfully off-key, perfectly cast performances: Christopher Lloyd as the crazy scientist who builds the time machine (a DeLorean luxury car) and Crispin Glover as Marty's geeky dad. --Doug Thomas

Critics and audiences didn't seem too happy with Back to the Future, Part II, the inventive, perhaps too clever sequel. Director Zemeckis and cast bent over backwards to add layers of time-travel complication, and while it surely exercises the brain it isn't necessarily funny in the same way that its predecessor was. It's well worth a visit, though, just to appreciate the imagination that went into it, particularly in a finale that has Marty watching his own actions from the first film. --Tom Keogh

Shot back-to-back with the second chapter in the trilogy, Back to the Future, Part III is less hectic than that film and has the same sweet spirit of the first, albeit in a whole new setting. This time, Marty ends up in the Old West of 1885, trying to prevent the death of mad scientist Christopher Lloyd at the hands of gunman Buford "Mad Dog" Tannen (Thomas F. Wilson, who had a recurring role as the bully Biff). Director Zemeckis successfully blends exciting special effects with the traditions of a Western and comes up with something original and fun. --Tom Keogh

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Set in a frontier world of bonnets and one-room schoolhouses, Love's Enduring Promise follows a headstrong young teacher named Missie (January Jones, Bandits), the daughter of Clark and Marty Davis (Dale Midkiff and Katherine Heigl) from previous prairie romance Love Comes Softly. After Clark injures himself in a woodcutting accident, the family farm is in danger of failing--until a handsome young stranger (Logan Bartholomew) helps out. Missie finds herself drawn to this man, but the intelligence and graciousness of young railroad magnate (Mackenzie Austin, How to Deal) appeals to a side of her that yearns to go beyond the hills and valleys of her childhood. What could be romantic froth becomes a quiet, well-paced, and thoughtful love story, thanks to a solid script, capable performances, and clean direction. Jones is particularly engaging; Missie could have been blandly virtuous, but Jones draws a rich and subtle range of emotions out of her scenes. Religious viewers will appreciate the movie's commitment to wholesome storytelling and clear moral perspective. Love's Enduring Promise, like Love Comes Softly, is based on a novel by Christian writer Janet Oke, though Love's Enduring Promise departs more from its source. --Bret Fetzer
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What sounds like the high-concept romantic comedy pitch from hell--widower president falls for smart lobbyist while the world watches--is actually intelligent, charming, touching, and quite funny. Granted, it's wish fulfillment all the way (when was the last time you saw a president who was truly presidential?), but in the capable hands of writer Aaron Sorkin (TV's Sports Night) and director Rob Reiner, The American President is incredibly enjoyable entertainment with quite a few ideas about both romance and the government. Michael Douglas stars as the president, who after three years in office starts thinking about the possibility of dating. When he auspiciously encounters cutthroat environmental lobbyist Sydney Ellen Wade (Annette Bening), sparks begin to crackle and the two begin a tentative but heartfelt romance. Of course, his job gets in the way--their first kiss is interrupted by a Libyan bombing--but darn it if these two kids aren't going to try and make it work! However, they hadn't counted on the president's Republican antagonist (Richard Dreyfuss), who starts carping about family values. The predictable plot--Douglas finally goes to bat for his lady and his country--is leavened by Sorkin's wonderful, snappy dialogue and a light touch from the usually subtle-as-a-sledgehammer Reiner. Both manage to create a believable White House-office atmosphere (with a crack staff including Martin Sheen, Michael J. Fox, Anna Deavere Smith, and Samantha Mathis) as well as a plausible and funny dating scenario. The true success of the movie, though, rides squarely on Douglas and Bening; this is unequivocally Douglas's best comedic performance (ergo his best performance, period) and Bening, usually such a good bad girl, takes a standard career-woman role and fleshes it out magnificently. You can see in an instant why Douglas would fall for her. One of the best unsung romantic comedies of the '90s. --Mark Englehart

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The tagline emblazoned across the top of this latest WWF album's cover reads, "All New WWF Superstar Themes That Rock!" And on any compilation where songs by Limp Bizkit and Marilyn Manson are unremarkable for their fast pace and fury, it can be safely said that all of the songs do "rock!" Careful work has gone into matching songs to the performers, and the opportunity to listen to this album outside the context of WWF shows means that a fan can live the fantasy any time he chooses, all day long. Even Vince McMahon's theme strengthens the role he plays in the WWF's plot: Dope's "No Chance" talks in the first person about a stupidly angry boss, and connecting McMahon with this song is smart because everybody hates their boss on some level, and this song only reminds the listener of McMahon's part in the drama. Along with "No Chance," some of the other numbers on Forceable Entry are new covers or remixes of wrestlers' theme songs. Here, this generally means a new version with dirtier guitar work throughout it. This will only bother the listener if he was really attached to the original version of one of the themes, such as Chris Jericho's "Break the Walls Down" (Sevendust), or Undertaker's "Rollin'" (Limp Bizkit). Regardless, if you know the songs played upon the entrance of these wrestlers, then you know which themes you like and which ones you don't--and you know whether or not you need this album. --Mark Huntsman
Grindhouse Presents, Death Proof - Extended and Unrated (Two-Disc Special Edition)
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