A horror-comic splatterfest set in 2007, but somehow filmed in 1972, about a posse of women taking revenge on a murderous, misogynist stunt-driver.
Peter Bradshaw - Guardian [UK]
Although overall impact of Tarantino's homage to chick-driven actioners and auto demolition derbies remains about the same, pic's second half, in particular, benefits from the further detailing it's now received.
Todd McCarthy - Variety
Much of this material is terrific in purely cinematic terms; one of Tarantino's saving graces as a filmmaker is his often surprising capacity for contemplative moments and patches of plotlessness.
Andrew O'Hehir - Salon.com
Overly talky and dialogue heavy even by QT's standards, Death Proof takes forever to get going and then re-starts again when it does.
Stephen Carty - Flix Capacitor
As an anomaly, a curio, even as half a movie, it's a winner. As a stand-alone feature, it struggles to stand up to close scrutiny.
Ali Gray - TheShiznit.co.uk
Dean Essner - Sight and Sound
Dean Essner - Digital Spy
Tarantino's very bloody half of Grindhouse.
Charles Cassady - Common Sense Media
Freed from the constraints of the Grindhouse package, Death Proof can now spread out, find its proper rhythms, and emerge as another excellent Tarantino classic.
Jeffrey M. Anderson - Combustible Celluloid
A comprovacao de que, nas maos de um diretor que conhece a fundo a tecnica e a historia do Cinema, ate mesmo um exercicio de estilo sem grandes ambicoes pode representar uma experiencia apaixonante para quem ama e respeita a Setima Arte.
Pablo Villaca - Cinema em Cena
Clearly the work of somebody who has ingested Carol J. Clover's Men, Women, and Chainsaws, yet it is also more
Fernando F. Croce - CinePassion
"raja" koja voli Tarantina %u0107e imati itekako razloga da mu oprosti ovaj eksperiment.
Dragan Antulov - Index.hr
Feels much longer than it is.
Rob Gonsalves - eFilmCritic.com
Death Proof is superbly made. There's a terrible tension watching these beautiful and spirited young women getting too close to the flame, followed by enormous relief when the mood changes in the second story.
Paul Byrnes - Sydney Morning Herald
A well-controlled buildup of expectations, suspense, and character contrast.
Jeffrey Chen - Window to the Movies
The problem for Tarantino in Death Proof is that the girl talk that occupies so much of the running time is anything but true to the culture 50 years ago. The setting is contempo, but the movie style is period
Urban Cinefile Critics - Urban Cinefile
I've rarely seen a filmmaker, in current Hollywood at least, expose his sexual and sadistic kinks on screen with such shameless glee.
Kevin N. Laforest - Montreal Film Journal
A tedious, meaninglessly anachronistic project.
Philip French - Observer [UK]
Dean Essner - Screen International
Paul Greenwood - Future Movies UK
Deliberately designed to look like a low-grade B-flick from the Fifties, this slasher adventure from Quentin Tarantino is a guaranteed treat for that rare film fan nostalgic about the worst era in cinema.
Kam Williams - EURWeb
There's plenty of fun to be had with Death Proof, but its imitation of a defunct, low-budget style of movie-making is perhaps too accurate when it comes to the genre's flaws.
Anna Smith - BBC
Ladies and gentlemen, Quentin Tarantino presents Death Proof: another feature-length gimmick that chokes two screamingly good action sequences in a smog of self-indulgent, self-referential, self-satisfied flatulence.
Elliott Noble - Sky Movies
This blend of girlie action flick with retro car-chase movie scores nought out of 10 for artistic expression but four for amiable delinquency.
Nigel Andrews - Financial Times
With its scratchy print, jerky editing and retro title sequence, Quentin Tarantino's fifth film bends over backwards to establish its Seventies sexploitation-flick credentials.
Anthony Quinn - Independent
Next to Kill Bill, this is only 50 per cent proof, but the last car chase will have you hanging on for dear life.
Anthony Quinn - thelondonpaper
A waste of time. A waste of celluloid. A waste of talent.
David Jenkins - Little White Lies
Seriously entertaining American filmmaking and definitely not the half-serious pastiche it could easily have been. No seatbelt, no airbag, no nuthin' - just Tarantino driving wildly under the influence.
Damon Wise - Empire Magazine
Smart attention is paid to some interesting tensions between old and new in areas as varied as pop culture, photography, effects work, automobile construction, telephony and audio recording technology.
Ben Walters - Time Out
Death Proof is an out-and-out dud, a film so profoundly dull, so relentlessly misguided, so criminally self-indulgent you almost feel bad criticising it. It's like kicking a man on crutches.
David Edwards - Daily Mirror [UK]
Tarantino has a blast with this affectionate nod to '70s exploitation flicks, but the dialogue isn't as good as it should have been.
Matthew Turner - ViewLondon
While playing by the rules--scantily clad women, sudden brutality, straightforward narrative--he also gleefully subverts the genre to keep us thoroughly entertained.
Rich Cline - Shadows on the Wall
Now with added lapdance, QT's B-movie homage to cars and girls deploys its cheap thrills with laid-back craft and class. Russell's wicked fun, Bell's a true trooper. Distributors! Can we have Planet Terror now, please?
Matt Mueller - Total Film
The appalling dialogue, mostly about the sexual predilections of his half-naked female cast, is so garbled, spotty and tedious that it fails to sell interest in a single character.
James Christopher - Times [UK]
No need to buckle up, Death Proof is stuck in the slow lane. Self-indulgent and uninspired, bankrollers Bob and Harvey Weinstein should have reined in Tarantino with a genuine Grindhouse-sized budget.
Ben Cobb - Film4
The dialogue with which Tarantino is usually adept is disastrously clunky, the filmmaking largely without flair and even the apeing of the smears and scratches of the schlock originals seems ridiculous.
Derek Malcolm - This is London
If you want to do this material justice... hold off on it until the release of Planet Terror and then watch them both together.
Rob Vaux - Flipside Movie Emporium
Death Proof might be a masterpiece.
Rob Humanick - Projection Booth
Tarantino has literally lost the plot, foregoing narrative drive for loquacious idling.
Anton Bitel - Eye for Film
What's new in Death Proof? Well, a lot of jibber-jabber. It's Tarantino jibber-jabber -- quick and juicy and deadpan and blunt and baroque -- but it's jibber-jabber nonetheless, minor time-filler between a few moments of twisted-metal glory or twisted-hum
James Rocchi - Cinematical
Despite some benefits in sequences that feature Zoe Bell, the new cut, which is 111 minutes (and not 127 as listed in the program), also brings to the surface weaknesses, resulting in a bloated, self-important picture.
Emanuel Levy - EmanuelLevy.Com