Death Proof

As 'Death Proof' is an homage to the old, low budget Grindhouse films of the 70's and 80's, there are many deliberate errors by the filmmaker to give an authentic Grindhouse feel.

Through out the movie they simulate splices in the film, sometimes in key places like people's names.

In movie projectors, the sound head is in a different location than the shutter/lens area and so the sound is a foot or two ahead of the picture frame that it corresponds with, so a splice will show a flicker then a second later hit the sound head and play static.

In the movie, the sound and visual affects of the splice are simultaneous.

When the first girls are driving to the lake, Jungle Julia Lucai calls a station to play a song by 'Dave Dee Dozy Beaky Mick and Tich' (qv).

But, whenever she says their names, she incorrectly calls Mick, Mitch.

In the closing credits, Buellton, California, is misspelled as "Buelleton.

" In the closing credits, The Austin Chronicle, is misspelled as "Cronicle.

" The three replays of the first crash are inconsistent with each other - most notably the girls who are ejected from the car (wholly or partially) are not seen in the overhead view.

Nate opens a non-collapsible umbrella on the porch as he and Arlene go to make out, but when they return to their seats it is a collapsible umbrella.

(Extended version only) When Earl is recreating the crime for his son, he mentions ".

All four souls taken exactly the same time.

" Five women died that night, and as far as he could know, they all died in the crash.

When Kim is driving the Mustang to the diner with the other three girls, the key is in the "off" position.

During the interior shots of Kim driving the Challenger with 'Zoe Bell (I)' (qv) on the hood, the speedometer is on "0".

JJ has her hands and feet dangling out of the car's side-windows while lying on the rear-bench.

In the Civic hatchback the girls are riding in, the rear-windows can't be lowered.

Later on the car is also shown with the windows back in place.

In the scene at the Chili Parlor, Warren buys the girls a round of shots.

They slam the shots, exchange some banter, then Butterfly says she is going out to have a cigarette.

She clearly taps a smoke out of the pack, grabs the lighter, and begins to stand.

Then, there is a quick close up of a hand grabbing the smokes and lighter off of the table, which is already in Butterfly's hand.

The second group of females stop at a gas station/convenience store in Lebanon, Tennessee to get "vodka and sugar-free Red Bull.

" This would be an impossible feat because blue laws in the state of Tennessee prohibit the sale of liquor and wine in grocery and convenience stores.

Only beer can be sold outside of an alcoholic beverage commission licensed liquor store.

The convenience store was obviously not in Tennessee because of the liquor and wine signs plastered on the building.

There is an oil well seen in the chase scene set in Lebanon, TN.

There are no oil wells in Lebanon, TN.

In the movie, the Challenger has window frames, which they hook the belts to that 'Zoe Bell (I)' (qv) holds onto while riding on the hood.

Dodge Challengers do not have window frames like this.

They were apparently added to prep the car for the sequence.

You can also see the roll bar in several scenes.

The driving scene through South Austin, when the girls are en route to Guero's, contains dozens of continuity flaws.

The scene was filmed along a three-mile stretch of Austin's Congress and S.

Congress Avenues.

Although ostensibly a continuous conversation, the backgrounds at different shooting angles change back and forth from the northbound to southbound lanes on Congress and S.

Congress, and to parts of the street miles apart.

The Austin Chili Parlor, although also a real-life Austin restaurant, does not contain several elements seen in the movie, such as a back patio and parking lot.

In the scene at Guero's restaurant, the girls drink margaritas out of traditional stemmed margarita glasses.

The real Guero's serves margaritas in standard round glasses.

Also, although the exteriors were filmed on location at the real-life Guero's, the soundstage-shot interiors do not match any part of the real Guero's.

During the final chase, both cars are seen to overtake the same cars more than once In particular you see Stuntman Mike pass the silver VW to the left, then the brown Ford to the right.

Moments later, an overhead shot shows him passing both the VW and Ford again, but this time to the right, therefore confirming this isn't just different camera angles being shown.

When Stuntman Mike is sitting at the bar there is a shot in which he is holding a tissue, in the next shot he is holding a glass, and then it cuts back to the tissue.

When Mike is photographing the 4 girls walking, the end of the scene shows him with the camera on the roof of the Charger.

If you look closely, you will see that the lens cap is still on the camera.

When Stuntman Mike rams the girls' car from behind at the end, we see 'Zoe Bell (I)' (qv) through the rear window lying on her back on the hood of the car holding on to two belts.

As he repeatedly slams into the car from the sides, Zoe loses her grip of the belts and is lying on her belly hanging on to the tip of the hood.

Just before he rams the girls' car from behind the second time, you can see that Zoe is once again on her back holding on to the belts.

The next shot after the ramming shows Zoe on her belly holding on to the tip of the hood.

Before Stuntman Mike drives crazy with Pam, they stop at a stop light and his window is up.

Before he throws the pictures out the window the window is down.

Stuntman Mike was never shown opening the window.

The inside and outside mirrors on the Challenger appear and disappear during the chase.

In the final scene, when Stuntman Mike crashes, you can see the driver's door is still on the car.

Then, when the girls come to get Mike, the door isn't there anymore and you can notice Mike's head and arm overflowing left side of the car as he's crying out his wounds.

As she sits at the bar, and later as she leaves with Mike, Pam alternates between wearing lipstick and not wearing any.

Shadow of the camera equipment on Stuntman Mike's shirt and seat during the final chase.

When the girls are at the table in the café eating, 'Zoe Bell (I)' (qv) is seen to take a small piece of food on her fork.

She then chews it for a second and swallows, then carries on chewing with nothing in her mouth.

She then dips the fork back to her plate not lifting anything and putting the fork to her mouth and begins to chew again with nothing in her mouth.

During the final chase Stantman Mike's car is seen with the windscreen been smashed off but in the next shot is seen back in place but then again with different blood stains than before.

When Stuntman Mike gets out of his car at the convenience store, you see the Steadicam operator in the windows of the store and late on in the shot, you see "him" again when he brushes Abernathy's foot.

Stuntman is in the bar talking to Pam, while facing his food.

Halfway the conversation he's turning his whole body right to face Pam, but in the next shot he's again sitting forward, facing his food.

In the last scene where the girls hit their car into Mike's car, his car somersaults and is back on the ground with all 4 wheels in place.

But in a close up shot, when girls pull him out of the car, one of the wheels is not there (rear left).

In the second segment, after the girls turn into attackers, a helicopter skid shadow is briefly visible in the screen's lower left as the two cars come back into line after going around the farm pond.

When the car smashes through the drive-in sign, the marquee lists _Scary Movie 4 (2006)_ (qv) as being rated R, when that movie was rated PG-13 in cinemas.

When 'Zoe Bell (I)' (qv) takes the iron pipe and then "rides" the car, Kim starts the car and turns it around with a power slide, skid marks from previous takes are visible.

When the motorcyclist flies into the fireworks stand, his motorbike stops with a very unnatural jerk and the cable stopping the bike is not difficult to see.

When Michael Parks talks about Stuntman Mike and whether to investigate or to follow the NASCAR-series in the hospital, he and his son walk through one corridor twice, entering it through the same door in both cases.

At the end, after the cars wreck, spin out, and go airborne, later scenes show them driving with perfect alignments.

After all those wrecks, at the speeds they were driving, the cars would be shaking like crazy, if they could even really get to those speeds again.

F-ing terrible movie! 95% of the movie is a bunch of chicks talking - just blow my brains out and save me the pain!

Grindhouse is not a good movie. i grew up in the 70's and there were plenty of b-movies that i remember.

That's all I could think about. The third act of the film, a girl is "pimped put for a porno" to a random man in the middle of nowhere by her supposed - friends but it turns out that they ditch her because "she's not in the click".

If, like me, you didn't like Death Proof then about an hour into the film you'll start rubbing the bridge of your nose or maybe twitching your right index finger over your left eyebrow and squinting down at the floor, repeating in your head (or aloud) every five minutes of so: 'I can't believe Quentin Tarantino made this, I can't believe Quentin Tarantino made this'. It is sad but equally as surprising just how low Tarantino has sunk with Death Proof, one half of an experiment (nothing more) he did with Robert Rodriguez called 'Grindhouse' which was supposed to recreate a 1970s, exploitation style experience in a Grindhouse cinema in which you'd see low-rent horror/sci-fi in all its gloriously gritty and patchy glory.

I'm a fan of Tarantino, i've loved pretty much everything from "Reservoir Dogs" to "Pulp Fiction" to "Dusk 'til Dawn" etc. Why on Earth he thought his fans, or anyone for that matter would find two separate groups of shallow, irritating, dull witted women bantering on about god knows what for thirty minutes plus at a time is beyond my comprehension and i'm a female!!

I tried to watch this movie 9 times before finally settling beyond the opening 30 seconds of annoying film and dialogue! 'I want a burger!

Artistically, Death Proof is amazing. It is designed to look like an older film which is a nice break from all the high-tech crap they through at us now a days.

Despite what people 'think' this film is about or what Tarantino's intentions were with this film, all I experienced as a human with sensory input was a flatulent deluge of words from a chug-nut so in love with his own dialogue that he forgot what a true 'grindhouse' offering was. This guy owns the negative of Polk Country Pot Plane.

Death Proof must be one of the most enjoyable films made in recent years! It does not take itself seriously, it toys around, it plays around with dialogue and it has fun with it.