#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A champion of a brutal cross-country car race of the future where pedestrians are run down for points has a change of heart while being hounded by rivals and a conspiracy seeking to stop the race.
Plot: In a boorish future, the government sponsors a popular, but bloody, cross-country race in which points are scored by mowing down pedestrians. Five teams, each comprised of a male and female, compete using cars equipped with deadly weapons. Frankenstein, the mysterious returning champion, has become America’s hero, but this time he has a passenger from the underground resistance.
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|6.2/10 Votes: 24,669|
|6.1 Votes: 289 Popularity: 8.658|
Race to Grab this Corman Cult Classic!! :
Every once in a while, Roger Corman, “a dear friend of mine” ;=8), comes out with a little gem among the tons of coal he produces every year, and “DR2K” is one of them. Kind of a poor-man’s “Roller Ball”, “DR2K” is about the ultimate in New America’s blood sport in a fascist “near-future”, with David Carradine(“Kung Fu”)as the anti-hero Frankenstein. Produced by Corman, and directed by Paul Bartell(“Eating Raoul”), the film is fast-paced, blackly humorous, and well-made. Unlike many Corman cheapies, the stark, spartan setting of “DR2K” only adds to the bleak atmosphere, where Mr. President rules from overseas, and old folks are routinely euthanized as part of the game. The game, in this case, being the Transcontinental Road Race where anything goes, and where pedestrians are run over and assigned kill points. Carradine plays a darkly foreboding Frankenstein, so-called because of the many limbs he has lost as a result of running the Death Race. A pre-“Rocky” Sylvester Stallone is grand as Machine-Gun Joe Viterbo, Frankenstein’s arch-rival. Also stars Mary Woronov(“Eating Raoul”, “Rock & Roll High School”)as Calamity Jane, Roberta Collins(“Eaten Alive”, “Hardbodies”)delightful as Matilda the Hun, and 60’s DJ Don Steele as a mincing little announcer. One of Corman’s many little social cowmentaries, this one about the all-too American obsession for violence and sports; thankfully he allows Bartell to deftly and briskly direct. Still, it’s a fairly low-budget affair; pedetrians get crushed, and things git blowed up real good, but it only makes you wonder what the film cud have been with a larger budget. Oh well, at least there isn’t a giant evil pickle from Venus in this one… The MooCow says this Guilty Pleasure is definitely rentable, so just yell “Blitzkrieg!” and fire up that vcr!! :
A work of unique genius
Deathrace 2000 is one of the best films ever released by the Roger Corman organization, and in fact it’s one of the best films ever released on the exploitation/drive-in circuit period. The film is not great because it presents us with interesting, realistic characters or a complex, well-developed story. Although it’s often spoken of in terms of its brilliant political satire, for the most part its political ideas are on a very basic level. What makes it a great film is its total lack of shame and pretension in contrast to those who seem to see the film as a kind of veiled political statement, I think the film was pretty obvious about what it is. And I think its great strength lies in the fact that director Bartel was able to give us a movie that fulfills all our demands for an exploitation film, and not only that but is in fact a decent action film, while at the same time overflowing with sadistic humor and no apologies. I don’t see the film as a satire masquerading as an exploitation film I see it as the ultimate exploitation film, free to be what it wants to be, telling us that it’s OK to laugh at the darker things in life. We can enjoy watching a guy’s head splattered on the road by a Nazi supermodel type. We can laugh at ourselves and our ridiculous cultural obsession with violence, and we can rise above and be conscious of just how ridiculous it is without sinking to the kind of pedantic moral-ism lampooned in the film in the person of Grace Pander (Joyce Jameson) and her morosely self-serious rebel clan.
The pacing of the movie is another of its strengths never let the audience stop and think about whether they should be offended. It doesn’t take long for the film to introduce the major characters and the central story concept. Frankenstein (David Carradine) is the all-time champion of the “Death Race”, a cross-country motor race in which contestants score points for killing pedestrians. Each racer has a partner of the opposite sex whose job is equally navigation and sexual satisfaction; Frankenstein’s new partner, Annie Smith (Simone Griffeth) has a third job: working as a fighter in Pader’s resistance movement on a special mission to assassinate Frankenstein.
The cars look very primitive today, and my friend who is a mechanic could easily identify the exact model of Volkswagen that was modified for the futuristic cars. But no matter. Each has been modified to fit a colorful persona for the racer, like WWF stars in the 1980sMartin Kove’s “Nero the Hero” with his Roman gladiator trappings is memorable, Sylvester Stallone makes a good early appearance as the poseur “Machine Gun Joe” (a character I would guess is loosely modeled on Charles Bronson’s early Roger Corman character “Machine Gun Kelly” this “Machine Gun” business might be good luck for aspiring action stars!), but Mary Woronov blows everyone away with her no-holds-barred uber-feminist Calamity Jane (best line: “nobody scores my co-pilot!”).
Carradine knows what he’s doing he doesn’t take the film any more seriously than it takes itself, but instead plays the character as two-dimensional par excellence. His best moment comes when he removes the scarred and disfigured mask that provides the persona of “Frankenstein” “what did you expect, another pretty face?”. Carradine’s laconic screen presence matches the character and the sterile futuristic world perfectly.
Griffith’s script is one of his best, and that’s saying a lot because the guy was seriously funny (see his original “Little Shop of Horrors” and his masterpiece “Bucket of Blood”). It’s based on a story by sci-fi writer Ib Melchior, who didn’t like the movie (it didn’t take itself as seriously as he wanted it to, as I recall). I can’t say enough about how much I adore Paul Bartel’s films, and this is one of his best (along with “Eating Raoul”). Paul Bartels doesn’t feel like he needs to dumb down his films so that people will realize they are a joke he thinks that a joke SHOULD be potentially dangerous and has no fear of offending the audience. It’s not that he’s a provocateur, in my opinion, but rather he’s a classic satirist he wants to show us how ridiculous our society is without wallowing in self-righteousness. His movies are always fun, and for that reason they’ll never be fully embraced by the majority of critics who think that you have to throw a wet towel over your film in order to send a serious message.
This is brave film-making of the highest order fast, fun, funny, sexy, uncompromising and intelligent.
Original Language en
Runtime 1 hr 20 min (80 min), 1 hr 24 min (84 min) (Argentina)
Genre Action, Comedy, Sci-Fi, Sport
Director Paul Bartel
Writer Robert Thom (screenplay), Charles B. Griffith (screenplay), Ib Melchior (story The Racer)
Actors David Carradine, Simone Griffeth, Sylvester Stallone, Mary Woronov
Production Company New World Pictures
Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera Arriflex 35 IIC, Mitchell BNCR
Laboratory Metrocolor, Hollywood (CA), USA (color)
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm