---
title: "Death Proof"
year: 2007
kind: "film"
canonical: "https://film.one/film/death-proof"
fi1m_id: "death-proof"
imdb_id: "tt1028528"
tmdb_id: 1991
wikidata_id: "Q1137310"
fi1m_score: 64
critics_score: 56
critics_reviews: 24
published: "2026-09-09"
updated: "2026-10-06T12:12:30.122955+00:00"
region: "RO"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Death Proof (2007)

Directed by Quentin Tarantino · 1h 53m · Action, Thriller

## Identity

Death Proof

- **Canonical:** https://film.one/film/death-proof
- **Type:** Film
- **Fi1m ID:** death-proof
- **IMDb ID:** tt1028528
- **TMDB ID:** 1991
- **Wikidata ID:** Q1137310
- **Same entity:** https://www.imdb.com/title/tt1028528/, https://www.themoviedb.org/movie/1991, https://www.wikidata.org/wiki/Q1137310

**Fi1m score: 64** · Critics 56 from 24 reviews

*In a sentence:* An hour of women discussing text messages, then Zoë Bell on a bonnet at ninety miles an hour and most is forgiven

> Tarantino’s half of the *Grindhouse* double bill is two films stuck together: an hour of bar talk that goes nowhere much, and twenty minutes of car chase that go everywhere at once. Kurt Russell and Zoë Bell make the wait worth it, just.

## Synopsis

Stuntman Mike (Kurt Russell) is a former film stunt driver with a scar down his face and a black car reinforced so that whoever sits in the driver’s seat survives anything. In Austin, Texas, a radio DJ called Jungle Julia (Sydney Tamiia Poitier) spends a night out with her friends Arlene (Vanessa Ferlito) and Shanna (Jordan Ladd), moving between a bar and its car park, while Mike drinks at the counter and watches. Rose McGowan is Pam, a woman who needs a lift home. Later the film picks up a second group: Abernathy (Rosario Dawson), Kim (Tracie Thoms), Lee (Mary Elizabeth Winstead) and a stuntwoman called Zoë Bell, playing herself, who has come to town with an idea about a particular car.

## Review

*Death Proof* began life as one half of *Grindhouse*, the double bill Quentin Tarantino made with Robert Rodriguez, and arrived in British cinemas on its own and at a longer length, running 113 minutes. Kurt Russell plays Stuntman Mike, a man with a scar, a grin and a black car built so that only the driver walks away from a crash. He follows women. That is the whole plot, and the film knows it. What Tarantino wants to do with it is spend a long time in a bar, then a long time in a diner, and then put two real cars on a real road and see what happens. The last part is worth your evening. The first two are the price.

The opening hour is set in Austin, Texas, over one night out. Sydney Tamiia Poitier’s Jungle Julia is a radio DJ who has promised her listeners something on air that Vanessa Ferlito’s Arlene did not agree to, and the two of them and Jordan Ladd’s Shanna drink, smoke and argue about it while the jukebox plays. Tarantino shot the film himself and has damaged the print on purpose: scratches, missing frames, colour that lurches from warm to green, a reel that seems to jump. Steve Joyner dresses the bar in neon and wood and cheap paper, and Nina Proctor puts the women in the shortest possible clothes and Mike in a satin jacket with his own name on it. Russell sits at the counter eating nachos and listening, and every time the film cuts to him the bar gets a little colder.

Russell is the reason the first hour holds at all. Mike lists the television shows he did stunts on to a girl who has heard of none of them, and the look on his face when she hasn’t is the film’s best joke. He is courteous, patient, faintly pathetic and plainly dangerous, and Russell keeps all four going at once. Later in the film he is asked to be something rather less than frightening, and he does it without any vanity, which we did not expect from an actor whose whole appeal is his cool.

The trouble is everyone else’s talking. In [*Pulp Fiction*](https://film.one/film/pulp-fiction) the talk was the action; here it is filler with a rhythm. The second group’s diner scene runs on about text messages, boyfriends and a cheerleader outfit for a length that would embarrass a stage play, and Tarantino gives himself a part as Warren the barman so that he can join in. We were bored, and then we found ourselves checking how much of the film was left, which is not a thing we like to admit about a director who once made two hours in a warehouse feel short. The dialogue has his cadence but not his purpose. Nobody in it wants anything except another drink.

Then the film changes. Zoë Bell is a stuntwoman playing herself, and the last stretch of the film is built around her doing her own work on the outside of a moving car, shot for real, with Rosario Dawson and Tracie Thoms inside it. Sally Menke cuts the chase in long takes so that we can see it is Bell and not a double, the road is a real road and the speeds are real speeds. We sat forward. We had not sat forward for an hour. Thoms drives and swears and is wonderful; Dawson screams with what looks like sincere alarm. There is no music over most of it, only engines and metal, and it is the one section of the film where the grindhouse styling stops being a costume and becomes a method.

Against Tarantino’s own record it is a minor film and it does not pretend otherwise. [*Jackie Brown*](https://film.one/film/jackie-brown) (1997) was patient and earned every minute; *Kill Bill* had a shape. This has a gimmick and a set piece and forty minutes of padding in between. Mary Elizabeth Winstead, as Lee, is given almost nothing and disappears from the film in a way we shall not describe but did not much like.

Watch it with someone who will forgive the first hour and who likes cars. Have the remote to hand for the diner. The last twenty minutes are as good as any chase Tarantino has put on screen, and Russell’s Mike deserves a better film wrapped round him. It carries an 18 and earns it in the second half.

*Fi1m score 64, published 9 September 2026.*

## What the critics say

The reviews split almost down the middle, with slightly more negative than positive, and the praise lands in the same two places whatever the verdict. Nearly everyone singles out the climactic car chase, shot with real stunts and no digital help, and Kurt Russell’s turn as Stuntman Mike; Zoë Bell’s stunt work draws its own admirers. The warmest notices, from the Los Angeles Times and Empire, treat the two-part structure as a bold joke on slasher conventions rather than a flaw.

The reservations cluster on the talk. Around half the critics find the long dialogue stretches padded and the second half repetitive, and Eye for Film calls the standalone cut Tarantino’s weakest film. The spread is wide, and it moves with time: Little White Lies reverses its own Cannes pan on revisiting, and later pieces from Collider and /Film argue the film has grown into a cult favourite. The Guardian stays unpersuaded, finding the seventies styling tedious.

## Straight answers

**Is Death Proof worth watching?**

*Death Proof* is worth watching for anyone who likes Kurt Russell and real cars on real roads and can sit through an hour of bar talk to get to them; we scored it 64. The last twenty minutes, with Zoë Bell on the bonnet of a moving car, are as good as any chase Tarantino has filmed. The diner scene is the price, and it is steep.

**How long is Death Proof, and what is it rated?**

*Death Proof* runs 1h 53m. It is an action and thriller film.

**Where can I watch Death Proof in Romania?**

*Death Proof* is not on any streaming or rental service in Romania at the moment. It is available in 35 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Death Proof, and is it suitable for children?**

*Death Proof* carries an 18 certificate and is not suitable for children. Kurt Russell's Stuntman Mike follows women in a car built to kill whoever is not driving, and the second half earns the certificate with crashes shot for real and Zoë Bell doing her own stunt work at speed. The first hour is mostly drinking, smoking and talk in a bar.

**What should I watch after Death Proof?**

After *Death Proof*, try [*Faster, Pussycat! Kill! Kill!*](https://film.one/film/faster-pussycat-kill-kill) (1965, Fi1m 75): Russ Meyer’s desert women and fast cars, the cheap original that Tarantino is imitating. Then [*Mad Max*](https://film.one/film/mad-max) (1979, Fi1m 78): George Miller’s first, made for nothing in Australia, with real cars hitting real things; and [*The Wages of Fear*](https://film.one/film/the-wages-of-fear) (1953, Fi1m 90): Two lorries, a bad road, a cargo of explosive; dread by the mile, no stunt doubles required.

### Reviews we read (24)

- **Empire**, Damon Wise (90/100, inferred): The review praises Death Proof as a smart, entertaining grindhouse homage that plays with slasher and car-chase conventions while delivering a subversive twist and a thrilling finale. It highlights Kurt Russell's performance and the standout car chase as key strengths in an authentic, old-school Tarantino effort. [Read](https://www.empireonline.com/movies/reviews/death-proof-review/)
- **Los Angeles Times**, Dennis Lim (90/100, inferred): The critic finds Tarantino’s “Death Proof” exhilarating and structurally bold, splitting the story into two segments with opposite outcomes for groups of women facing Stuntman Mike. It praises the film’s surprising turns, poetic trash talk, unerring soundtrack, and the visceral, CGI-free climactic car chase as one of Tarantino’s most original works since “Pulp Fiction.” [Read](https://www.latimes.com/archives/la-xpm-2007-apr-06-et-grindhouse6-story.html)
- **Little White Lies**, David Jenkins (85/100, inferred): The critic, who initially panned the film at its Cannes premiere, now regards it as Tarantino's most radical, poetic, and finest work of the century. They single out its poignant humanization of archetypal characters and its exploration of duality, repetition, and vulnerability beneath the grindhouse surface. [Read](https://lwlies.com/in-praise-of/death-proof-quentin-tarantino)
- **The New York Times**, A.O. Scott (75/100, inferred): The critic views Death Proof as a decidedly modest picture whose scaled-down ambition is part of its appeal, consisting of long stretches of talk interrupted by kinetic bouts of automotive mayhem. He praises its sincere tribute to Monte Hellman and the way it strips away quotation marks to find a route back to the basics of character, action and story. [Read](https://www.nytimes.com/2007/04/06/movies/06grin.html)
- **The Hollywood Reporter**, Kirk Honeycutt (70/100, inferred): The critic views the standalone version positively as fitting Tarantino's oeuvre, noting its artistic chances, post-modern rethinking of pulp fiction, and how it sneaks philosophical depth into sex talk and car stunts despite rudimentary motives. The Cannes screening is seen as interesting though out of place in competition. [Read](https://www.hollywoodreporter.com/business/business-news/critics-notebook-death-reincarnated-2-137002/)
- **Variety**, Todd McCarthy (70/100, inferred): Tarantino’s “Death Proof” stands out for its great dialogue and electric performances rather than genre play, with vibrant bonding and camaraderie among two sets of young women. The critic highlights the mesmerizing girl talk, poetic trash talk, real stunts in the chase sequence, and strong turns from the cast including Kurt Russell and Zoë Bell. [Read](https://variety.com/2007/film/reviews/grindhouse-1200509255/)
- **RogerEbert.com**, Roger Ebert (65/100, inferred): Tarantino's half of the Grindhouse double bill is the stronger one, with skillful car-chase sequences and a satisfying finale despite overly long dialogue scenes. The critic singles out the highway duel and Kurt Russell's performance as highlights in an otherwise minor work. [Read](https://www.rogerebert.com/reviews/grindhouse-2007)
- **The New Yorker**, David Denby (65/100, inferred): The critic notes that Death Proof isn’t as flagrantly imitative as its companion film and praises the intimate, detailed, funny talk among the characters as well as the exciting real-space car chase in the second half. He finds Tarantino caught in contradictions between humanism and nihilism in the service of schlock homage. [Read](https://www.newyorker.com/magazine/2007/04/16/sleaze-city)
- **The Telegraph** (60/100, inferred): Death Proof is enjoyable if a little patchy as a standalone film. The car chases and crashes are highlights, along with Kurt Russell's performance, but it does not stand up well against Tarantino's earlier work. [Read](https://www.telegraph.co.uk/motoring/wheelsonfilm/2751944/Wheels-On-Film-Death-Proof.html)
- **Time Out**, Ben Walters (3/5): The review sees the film as a fan-boy indulgence with a double structure that stretches thin material, full of Tarantino-speak and quotation marks. It singles out the climactic car chase as a bona fide old-school tour de force and notes smart attention to tensions between old and new technologies. [Read](https://www.timeout.com/movies/death-proof-1)
- **The Independent** (50/100, inferred): The review finds the film a solid but ultimately disappointing killer-on-the-road thriller that mimics 1970s exploitation style with Tarantino's dialogue and references. It singles out the energetic car chase finale for praise while noting the overall reproduction feels like a step down from the director's best work. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/death-proof-18-464492.html)
- **The Times**, Kevin Maher (50/100, inferred): The standalone release of Death Proof is uneven and will mainly please dedicated Tarantino fans. The first half builds effective tension as a homage to 1970s exploitation cinema, but the second half suffers from weak chemistry and an uninspired finale. [Read](https://www.thetimes.com/article/women-trouble-0qrzz0nws9p)
- **Radio Times** (2/5): This stylistically authentic but overly talky tribute to 1970s exploitation cinema fuses slasher and chase genres with mixed success. The critic singles out the extensive stretches of dialogue that slow the pace and emphasize the second group of actresses. [Read](https://www.radiotimes.com/movies/best-quentin-tarantino-movies-ranked/)
- **The Guardian**, Peter Bradshaw (40/100, inferred): Tarantino's standalone cut of his Grindhouse segment is a bit of a failure, padded with long stretches of inconsequential dialogue that fail to match his earlier work. The extravagant head-on collision scene offers a lethal roar of entertainment, but the studied 70s stylings and offensive tone are ultimately tedious. [Read](https://www.theguardian.com/film/2007/sep/21/quentintarantino.horror)
- **Evening Standard** (30/100, inferred): The review dismisses the film as a depressing waste of talent, with clunky dialogue, lack of flair, and pointless grindhouse affectations that fail to capture the spirit of the originals. It grudgingly notes the car chases are competent but concludes the film has nothing new or worthwhile to say. [Read](https://www.standard.co.uk/culture/film/tarantinos-schlocky-horror-show-7399456.html)
- **Screen Daily** (30/100, inferred): The extended Cannes cut is a pointless, overly referential genre exercise that fails to cohere as a slasher, chick-flick, or stunt film. The critic singles out the dull, talky passages and lack of narrative drive despite strong stunt work and Kurt Russell's performance. [Read](https://www.screendaily.com/death-proof/4032803.article)
- **Sight and Sound**, Tony Rayns (30/100, inferred): The critic finds the solo release version bloated and conceptually confused, far from authentic grindhouse fare despite its retro trappings. He singles out the protracted car chase in the second half as intermittently exciting but notes the overall lack of dramatic traction and memorable dialogue. [Read](http://old.bfi.org.uk/sightandsound/review/4011)
- **Slant Magazine**, Jeremiah Kipp (30/100, inferred): The critic finds Tarantino's segment more homage than reinvention, with strong performances from Kurt Russell but paper-thin characters and dialogue that make the revenge plot feel disaffected and campy rather than engaging. The self-referential style is seen as more offensive than the original grindhouse films it emulates. [Read](https://www.slantmagazine.com/film/grindhouse/)
- **Collider**, Lisa Laman (90/100, inferred): The critic calls Death Proof one of Tarantino's finest features, praising its subversive slow-burn thriller structure in the first half, the audacious shift to a new cast, Kurt Russell's eerie performance, and the gender-role reversal in the finale with its gruesome yet satisfying payoff. They single out the lively leads (including Zoë Bell and Rosario Dawson) and the film's effective riff on slasher/exploitation tropes. [Read](https://collider.com/grindhouse-15-years-later-death-proof-planet-terror/)
- **/Film**, Mike Shutt (90/100, inferred): The critic highlights how Death Proof has gained appreciation as a cult classic since its separate home video release, praising its stunt work, tension-building, and character focus as proof that even minor Tarantino surpasses most directors' best efforts. They single out Zoë Bell's fearless performance and the extended practical car chase for particular praise. [Read](https://www.slashfilm.com/860574/death-proof-is-the-tarantino-classic-we-dont-talk-about-enough/)
- **Digital Spy**, Tony Delgado (40/100, inferred): The film is a disappointing and uneven homage to 1970s exploitation cinema that elicits more boredom than thrills overall. The critic singles out Kurt Russell's performance and the thrilling final car chase for praise while criticizing the dull, irrelevant dialogue scenes. [Read](https://www.digitalspy.com/movies/a73269/death-proof/)
- **The Skinny**, Iain Burnside (★★): The film recycles Tarantino clichés with wilder whimsy but neither half satisfies, relying on viewer patience that often runs out before the climactic chase. Zoe Bell's stunt work provides the only real excitement amid sharp dialogue and choice songs, but the director has nothing new to say. [Read](https://www.theskinny.co.uk/festivals/edinburgh-fringe/fest-magazine/death-proof)
- **Den of Geek**, Sarah Dobbs (2 out of 5): The critic enjoyed the first half's setup, grainy grindhouse style, and snappy dialogue but found the second half lazy and repetitive, with pointless extended scenes that wasted all goodwill built earlier. [Read](https://www.denofgeek.com/movies/death-proof-review/)
- **Eye for Film**, Anton Bitel (30/100, inferred): The critic finds the expanded UK release version of Death Proof overlong and padded with excessive dialogue that drags down the experience, calling it Tarantino's weakest film. The solid premise, visual style mimicking grindhouse aesthetics, and practical stunts are singled out as highlights amid the complaints about the writing. [Read](https://www.eyeforfilm.co.uk/review/death-proof-film-review-by-anton-bitel)

## Details

- **Director:** Quentin Tarantino
- **Director:** Quentin Tarantino
- **Screenplay:** Quentin Tarantino
- **Cinematography:** Quentin Tarantino
- **Editor:** Sally Menke
- **Production design:** Steve Joyner
- **Costume design:** Nina Proctor
- **Producer:** Quentin Tarantino, Elizabeth Avellan, Robert Rodriguez
- **Cast:** Kurt Russell as Stuntman Mike; Zoë Bell as Zoë Bell; Rosario Dawson as Abernathy; Vanessa Ferlito as Arlene; Sydney Tamiia Poitier as Jungle Julia; Tracie Thoms as Kim; Rose McGowan as Pam; Jordan Ladd as Shanna
- **Runtime:** 1h 53m
- **First release (Canada):** 22 May 2007
- **Genres:** Action, Thriller
- **Budget:** $25 million
- **Box office:** $31 million

## Where to watch in Romania

Not streaming, renting or buying in Romania at the last check.

Also available in: AE, AT, AU, BE, BG, BR, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HU, IE, IN, IT, JP, LT, MX, MY, NL, NO, NZ, PL, PT, SE, UA, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Vanishing Point* (1971): The white Dodge Challenger this film keeps talking about, and the road film it wishes it were.
- *Duel* (1971): Spielberg’s television film: one man, one lorry, ninety minutes, and no dialogue to pad it.
- *Faster, Pussycat! Kill! Kill!* (1965), Fi1m 75: Russ Meyer’s desert women and fast cars, the cheap original that Tarantino is imitating. — [Fi1m page](https://film.one/film/faster-pussycat-kill-kill.md)
- *Mad Max* (1979), Fi1m 78: George Miller’s first, made for nothing in Australia, with real cars hitting real things. — [Fi1m page](https://film.one/film/mad-max.md)
- *The Wages of Fear* (1953), Fi1m 90: Two lorries, a bad road, a cargo of explosive; dread by the mile, no stunt doubles required. — [Fi1m page](https://film.one/film/the-wages-of-fear.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/death-proof