Remakes are like those proverbial Tribbles in the classic Trek episode. Give them a creative inch – or in the case of Hollywood, a recognizable box office return – and they’ll overrun your aesthetic starship, and last time anyone checked, Tinsel Town was plowing through them at warp speed. In a clear case of ‘the new generation needs its own version’, everything from the last three decades is now being restructured to appeal to a tween, PG-13 demo. A rare exception is Death Race, an ‘update’ of Roger Corman’s action spoof that’s been given a gritty, grimy, hard-R polish. Gone are the cross country premise and “people-as-points” fun. In their place is a Rollerball meets ridiculousness ideal that’s, oddly earnest if ultimately empty goofiness.
In a future overflowing with poverty and violence, the prison based demolition derby Death Race is the most popular online entertainment extravaganza. Run by warden Hennessey and starring masked prisoner Frankenstein, the web event draws millions of viewers – and dollars – for the private penitentiary corporation. When a mishap threatens the spectacle, the stern female steward turns to new inmate – and convicted wife killer – Jensen Ames as her new driver. Once he meets up with chief mechanic Coach, and his main competition Machine Gun Joe, he discovers that there is more to his incarceration than crime. Seems this ex-race car jockey turned steel worker may have been set up specifically to save the three day competition – with no hope of he, or anyone else, making it out alive.
Like big steaming chunks of charred animal flesh, or a fleeting glimpse of a gal’s ample cleavage, Death Race (new to DVD in an “Unrated” version from Universal) taps into something very primal (and very male) about the action movie experience. It’s all noise, bluster, and torque-testing horsepower. When it moves, it travels at unlimited overcranked rpms. When it stops to focus on exposition and depth, it’s like listening to the set-up for a very bad, very superficial pulp novel. That Paul W.S. Anderson, film geek scourge that he is, could find a way to make both elements work is surprising enough. That he winds up delivering one of the year’s shockingly guilty pleasures is indeed ‘fuel’ for thought.
Don’t think this was some project pulled out of a bored executive’s yoga-toned behind, however. As part of the Unrated DVD experience (note, of the five added minutes of material, very little do with sex and/or violence), Anderson is one hand to provide a fun and spry commentary track. He indicates that he’s wanted to tackle Death Race ever since famed indie producer Corman bought the rights to his first film Shopping. That it’s taken 14 years from greenlight to gear box is something Anderson laments, but he’s also glad that it took this long. The special effects necessary to realize his over the top aims would have been far less spectacular than in 1994.
Speaking of Roger Dodger, all those with fond memories of the Corman cult classic from the ’70s take heed – there is very little here to remind you of that cheesy schlock stunt piece. Paul Bartel’s even if effective direction is nowhere to be found. In its place is a style reminiscent of a poorly designed carnival ride, one where you can anticipate the thrills by the logistics of the layout. When the narrative announces that there will be three stages to the title competition, you’re already aware of when Anderson will turn up the adrenalin. And since the trailer more or less give away all the possible plot twists, what happens during the each and every race is fairly obvious.
Also, at many times during this otherwise engaging Farm Film Reportage that Anderson gets in his own way. You can sense he was striving for something more serious, a speculative fiction that says something about our love of violence, corporate greed, morbid curiosity, and outright love of velocity. In its place however is the satisfying crunch of metal and an equally rewarding sense of mindless mayhem. All the action centers around explosions and bullets, revved up hunks of machinery destroying each other in all manner of logic defying permutations. Characters who we barely know are killed in massive sprays of body parts and blood, and everything is soaked in a sinister despotic aura that demands redress.
Naturally, it’s up to human adrenal gland Jason Statham to supply the permanent five o’clock shadow musk. Making a living out of being buff, unshaven, and incredibly surly, the British thesp provides his accustomed glower power, if little else. He’s always an appealing anti-hero, but this time around his vacant Jensen Ames appears inane. Sure, there’s his baby daughter’s salvation to be considered, and his desire for outright revenge, but none of these motives resonate. Instead, Anderson offers Statham as emaciated male musculature, ripples replacing anything remotely resembling characterization or a rooting interest.
Equally out of place, for different reason, is Joan Allen. Yes, the Oscar nominated lady gets to put on her F-you bitch bomb pumps and play baddie, all in the name of authoritarianism and conglomerate insatiability. With a single personality beat – make dat mon-ey – and a sexless disposition, she’s villainess as placeholder, a fashion plate prop waiting for a better menace to take her position. Do we cheer when its comeuppance time? Sure. Do we really understand the reasoning behind her choice of chump (Statham) and destruction of all that he held dear? Huh? She at least fairs better than Tyrese Gibson and Natalie Martinez, both reduced to obligatory eye candy for the requisite sides of the gender aisle.
Anderson, who is often marginalized by a fanbase that has seen him turn some of their favorite geek obsessions (Resident Evil, Alien vs. Predator) turned into mindless mainstream mush, does a decent, journeyman job here. He doesn’t strive for some kind of dystopic dream state or visual allegory. Instead, it’s all screeching engines, smoking lighting and heavy pedal to the metal thunder. For someone who still manages a paycheck for what he accomplishes behind the lens, Anderson remains an enigmatic cinematic shoulder shrug. But nothing he does in Death Race convinces you that his detractors are wrong…or that his employers think outside a very small, very specific financial box.
The DVD itself spends most of its bonus feature cache on the aforementioned commentary. It also plans to get a lot of digital context goodwill be offering the Rated and Unrated versions. Again, don’t be fooled by this plot – studios often inject unimportant material back into a movie to thwart the original MPAA determination, even if the new stuff is just boring exposition. Here, we get a few more seconds of human combustion, but that’s it for the gore score. Everything else is added plot ticks. The two making-of featurettes are fun, since they give the cast and crew an EPK-lite ability to wax poetic about a big, dumb car crash film.
Thankfully, most of the major quibbles with this film drift away in a cloud of oil smoke and exhaust will stand as this last gasp popcorn pitch’s only hope. In a critical community that rightly targets the mindless and aimless as celluloid sputum, Death Race sure smells like something spoilt. But after a year of angst-ridden superheroes whose complex character complaints drive even bigger narrative ambitions, its good to simply sit back and feel your brain cells systematically shut down. This doesn’t make this unnecessary ‘reimagining’ good, merely tolerable. If you want some real kicks, head back to the original. It’s far more enjoyable. Death Race refuses to take itself seriously – and sometimes, that’s all that’s required.