If you want to go back in time and experience the box office smash action films of the 80's, look no further than 1986's Lee Marvin/Chuck Norris hit THE DELTA FORCE. One of those classic 70's and 80's thrillers with all the casts pictures at the bottom of the poster and our heroes firing blazing guns, the film is surprisingly straight forward. An airliner on its way from Athens to Rome is hijacked by terrorists led by Robert Forster (overacting but in all fairness doing his best with the stereotypical role of "Abdul"). This puts the usual plane full of passengers in peril, including George Kennedy, Joey Bishop, Shelley WInters and Martin Balsam. (You'd think Kennedy would avoid planes by now after 4 Airport flicks....) The Delta Force is called in, providing plenty of excitement and firepower. Some observations from a 2015 perspective: * How in the hell did Chuck Norris become such a huge star. I have seen ventriloquist dolls less wooden than Chuck. He is B A D. * Lee Marvin blows Norris off the screen even when they are both silent on screen. Marvin was a breed of tough movie star that no longer exists and that's a shame! * Some of the stars surprise you with how good they are, including Joey Bishop playing it straight, Bo Svenson as our pilot and Martin Balsam as a Jewish tourist targeted because of his faith. * The music score by Alan Silvestri is very good. He would go on the following year to "Predator", "Who Framed Roger Rabbit" and "The Abyss". * The screenplay is as bad as you'd expect, stuffed with cliches, stereotypes and horrific dialogue But somehow, it rises a bit above expectations as a satisfying example of 80's action. Granted, those expectations are about as big as Chuck Norris's emotional range....so non-existent. Look for Liam Neeson and Kevin Dillon (Entourage) in small roles as members of the Delta team. Dumb, but nostalgic and sprinkled with some surprisingly effective dramatic moments, we'll give THE DELTA FORCE a C.

The world never heard banjos in quite the same way after the 1972 release of Director John Boorman's seminal outdoor adventure DELIVERANCE. With the passing of Burt Reynolds this week, I wanted to go back and watch one of his films. It's easy to forget how good Reynolds could be and he's excellent in his role as Lewis, the cocky, devil-may-care outdoorsman dragging along three other men on a weekend river run from hell. Lewis brings his friend Ed, (Jon Voight) and lesser acquaintances, soft spoken Drew (Ronnie Cox) and Bobby (Ned Beatty) deep into the Appalachian backwoods to run a river that's about to be buried deep under a new dam. For Lewis, its man versus his own limitations. For the rest, its a relaxing weekend gone mad. Director Boorman (Excalibur) translates James Dickey's terrific novel to the screen brilliantly, building creeping unease almost immediately as our friends arrive in small towns that could be on another planet where education, money and a full set of teeth seem like luxuries. When Bobby and Ed are ambushed in the woods by two terrifying hillbillies, the film turns terrifying. Sexually assaulted and fearing death, Lewis puts his crossbow into action and the film flips into a test of survival against the river, the locals and the men's sense of right and wrong. Seeing the film all these years later, the acting holds up across the board, with Reynolds, Cox and Voight all at the top of their game and Beatty suffering one of the most notorious film humiliations of all time. Watching Beatty in the scenes in town toward the end of the film, his reactions are powerful. The river scenes are fantastic, filled with incredible stunts, strong action and real tension. There are ten minute sequences that take place with only the sounds of water and nature in the background, building suspense in slow, subtle twists. Boorman casts all locals in most of the parts, bringing a scary authenticity to these unseen backwater swamps of America not on anyone's list to visit. Reynolds broke his tailbone going over the rapids. That really is Jon Voight climbing the rock wall for the kill. The dance that the old man at the gas station does was unscripted and he's not an actor. If that scene doesn't scare you, I dont know what will. The photography by Vilmos Zsigmond (Close Encounters) is fantastic. Special effects artist Marcel Vercoutere does for broken bones and arrows here what he did so brilliantly with the devil in "The Exorcist" the following year. Reynolds said this was his favorite film he ever made and his best performance. It's hard to argue. At one point as Lewis, Reynolds says "Sometimes you have to lose yourself 'fore you can find anything." By the quiet closing moments of DELIVERANCE, you realize how prophetic those words were. Suspense filled and disturbing, DELIVERANCE gets an A. I never want to hear those damn banjos again....

Albert Brooks is the closest thing we have to another Woody Allen in my book. Intelligent, humorous and constantly self effacing, Brooks delivered one of his best films with 1991's DEFENDING YOUR LIFE. After a fatal accident in his brand new dream BMW, Daniel Miller (Brooks) finds himself in a way station afterlife, Judgement City. Miller rides a Universal Studio Tour life tram to his middle of the road Holiday Inn type hotel. Perfectly comfortable but nothing very special, Daniel is taken to a large office complex where he will review his life and see if he's earned the right to go on to the next level, or if he has to back to Earth and try again. From beginning to end, this is a hilarious take on how we look at our lives. Buck Henry, who had a similar role welcoming Warren Beatty to the pearly gates in "Heaven Can Wait" is drop dead funny as a legendary defender without much to say. Rip Torn (The Larry Sanders Show) is LOL funny as Bob, Daniels main defender arguing his side in front of two judges. Lee Grant (The Landlord) is perfect as the prosecutor trying to convince the judges that Miller is not over his fears and is not ready to move on. Meryl Streep is terrific as Julia, another recent arrival in Judgement City who seems to be the perfect match for Miller. Too good to be true? Bad timing? It's hilarious watching Brooks realize that he's got 9 days of trial and Julia's only got a few. When he sees her Ritz Carlton like hotel, he realizes that maybe he hasn't led his best life. Daniel Miller: What is this? Julia: It's my hotel. Daniel Miller: This is your hotel? Julia: Yeah. Where are you staying? Daniel Miller: Obviously at the place for people that weren't very generous and didn't adopt anybody. I'm at the Continental. Come over one day; we'll paint it. _____________________________ Beautifully shot by Allen Daviau (ET, Empire of the Sun, Bugsy) and smoothly directed by Brooks himself, its a constantly smile inducing blend of observation and comedy. The courtroom scenes in which Daniel is made to look back at his life are so perfectly played it feels like Woody's flashbacks in his best films. Grant's grillings of Daniel are a thing of beauty. Lena Foster: What did you finally invest in, Mr. Miller, do you remember? Daniel Miller: [under his breath] Um, uh... cattle. Lena Foster: And what happened to the cattle? Daniel Miller: I don't know; I never got a straight answer. All I know is that their teeth fell out. ________________________ Beneath the laughs, there are plenty of powerful ponderings on how we live our lives to the fullest. Streep and Brooks have real chemistry and their quick romance never feels forced, thanks to Brooks flawless delivery. I could watch Buck Henry and Rip Torn all day, there are few supporting actors in history that can deliver punchlines like these two classic actors. With Brooks screenplay in their hands, its a showcase. Beatty and Christie's final scene in "Heaven Can Wait" is in my all time Top 5 best movie endings. While Brooks and Streep can't quite match that magic, the final moments here are pretty damn perfect and a sweet coda to a very fun ride. DEFENDING YOUR LIFE is comic heaven for smart audiences, earning a halo topped A.

Looking for your next binge watch and love crime thrillers? Run, dont walk to Apple TV+'s DEFENDING JACOB, a powerful 8-part adaption of the hit crime novel by William Landay. Chris Evans (Captain America) is Boston assistant DA Andy Barber. He's a respected attorney, with a terrific wife Laurie (Michelle Dockery) and teenage son Jacob. When a classmate of Jacob's is found brutally murdered in the park near their high school, their son is soon implicated and charged with the crime. Evans is terrific as a father torn between his passion for the law and his sudden confusion on being on the on the other side of the charges. He's had ample opportunity in the Marvel movies to show his range. Between his role in "Knives Out" last year and his performance here, he rises to another level. Dockery (The Gentlemen, Downton Abbey) delivers a tightly wound, painful performance as a mother who begins to question everything about her son. Martell (young Bill in "IT") is an impenetrable mystery as an awkward teen dealing with bullying, the pressures of social media and being thrust into the media spotlight. Cherry Jones (Signs, 24) is fantastic as Jacob's defense attorney Joanna Klein. Tamara and I were fortunate enough to see her on Broadway in "Doubt" and she's one of the best actresses on the planet. She's jaw-dropping as a brilliant attorney torn between her friendship with Andy and the family torn apart by increasingly ugly truths. JK Simmons (Whiplash) is excellent as well as Andy's estranged father. The less you know going in the better on the elder Billy Barber, the better, so I'll all say is Simmons disappears into the character, he's reliably great. Pablo Schreiber (Den of Thieves) is also very good as Andy's fellow attorney Neal. He's featured in a story framing device that weaves through all eight hours so cleverly that you only realize its true purpose in the final episode. Creator/Director Mark Bomback manages to adapt the novel with more than a few twists that will surprise the millions that read the novel. The 8 hour structure gives him a lot of room to breathe and the space to present a lot of characters, suspects, tragic figures and red herrings into the mix, but he always maintains focus. The final episode is a roller coaster for the Barber family and for any viewer that's flown through episodes 1-7 to find out whodunit. It's a clever, smart and emotional ending that I never saw coming. DEFENDING JACOB should be your next binge watch and gets an A.

Director Peter Berg and star Mark Wahlberg delivered us two very good films in 2016, "Patriots Day" and DEEPWATER HORIZON. Wahlberg stars as Mike Williams, Chief Electrical Engineer on the offshore oil rig Deepwater Horizon. Along with his boss Mr. Jimmy (Kurt Russell), he has deep concerns about the sloppy set up procedures on the rig, seemingly rushed by the BP Oil Executives in a rush to the bottom line. Jimmy and Mike push again and again that the behind schedule rig is not ready to begin tapping into the massive oil bed in the sea bottom three miles below. When they're forced to begin anyway, a massive explosion of oil and then fire engulf the giant platform and all aboard are forced to fight for survival. The film cleverly provides you with enough basic information about how the platform works that you understand the action when it happens. Kate Hudson is terrific as Mike's wife Felicia, Gina Rodriguez is very good as a young engineer and Mike's right hand person and the always terrific John Malkovich is perfectly Cajun and slimy as the head BP executive on board who witnesses the results of his directives to cut corners. The special effects are fantastic and scary as hell, the explosions of oil and fire that tear apart the rig are stunning in scale and their after effects are depicted so realistically that you feel like a camera crew was actually there. DEEPWATER avoids the traps of traditional disaster films (long exposition and introduction of bland characters, silly escapes) by being true to the events in 2010 that resulted in the biggest oil spill in history. Wahlberg and a strong cast do a great job of portraying everyday people doing their job and trapped in a massive inferno. How anyone escaped is a miracle. Kurt Russell is very good in his role as the lead man on the rig trapped between doing the right thing and his limited power at the feet of the BP execs. Berg and his writers just show the facts, they don't paint stereotypical portraits of the execs as mustache twirling bad guys, just as men who must face the startling consequences of their decisions. As he did in "Patriot's Day", Berg bookends the film with audio and video clips of the actual people depicted, upping the human stakes of all the action within. Suspenseful, visually stunning, fast moving and dramatic, DEEPWATER HORIZON gets a B.

A good old fashioned disaster movie with state of the art effects (at least for 1998) DEEP IMPACT is a fun, exciting two hour ride. Reporter Jenny Lerner (Tea Leoni) discovers the story of the approaching meteor by mistake when drilling a senator on what she thinks is an affair. Suddenly she is in front of the President (the impeccable, rock solid Morgan Freeman) who is guaranteeing her the first question when he announces the comet's impending arrival to the unsuspecting US public. There is the requisite mission by a Soviet/US team to divert the meteor using nuclear weapons in space, but as we know from every other asteroid movie (Meteor, Armageddon) and the poster, that just ain't gonna work. Soon the country is bracing for impact and an all star cast meets varying fates. Leoni is the only lightweight in the cast, she seems way over her head in the starring role. Everyone else is terrific, including Robert Duvall as an aging but heroic astronaut, Vanessa Redgrave as Tia's mom, a young Elijah Wood as the amateur astronomer that discovers the comet and Maximillian Schell as Leoni's father. Not sure how two actors of Redgrave and Schell's capabilities gave cinematic birth to Leoni, but they blow her off the screen. Of course, we're all just waiting for that big old rock to hit and the moment doesn't disappoint, making sure to destroy every major landmark in the eastern US. The screenplay by Bruce Joel Rubin (Ghost) does a far better job of introducing us to people we actually care about than a traditional disaster flick, making the conclusion more than just a bunch of explosions and tidal waves. Although those are pretty cool too......! Deep Impact is an enjoyable disaster movie of the first order, and pounds it's way into the earth with a solid (and explosive) B.

When it comes to water based thrillers, DEEP BLUE SEA is way out of its depth. On the cusp of a scientific discovery that will end Alzheimer's, a group of scientists working with Shark's brains finds themselves bending the rules to get the results they need to continue funding. Saffron Burrows is Dr. McAlester, better with a motivational speech than following moral guidelines. She is seen escorting drug company owner Russell Franklin (Samuel L. Jackson) back to their ocean set research facility as the film opens. I've seen Jackson excel in nearly ever role ever handed him, but I have to say he is horrible here, badly miscast and unable to save a poorly written character. They should have harvested the super sharks brains for screenwriting ability as this is one of the worst written films I've ever seen. The punchlines are groaners, the serious dialogue is filled with eye-roll worthy duds and the everyday dialogue will be foreign to most humans as we really dont talk like these stock characters act. Thomas Jane looks the part but is rather bland as bad boy hero Carter Blake, Stellan Skaarsgard is wasted as a troubled scientific genius and LL Cool J is best in cast as a preacher/cook with a gift for swimming faster than these huge predators. The film doesn't make a point that he can swim that fast, it just appears so due to bad continuity errors. In one scene the massive sharks move 100 yards in less than two seconds to attack but when they are chasing our troubled clergy/chef, they swim in a leisurely doe-see-doe that barely generates suspense. Renny Harlin has made some decent, brainless action pics, including a few I've really enjoyed, like "Die Hard 2" and "Clifhanger". There are a couple great scenes, including Jackson's last speech so rudely interrupted, a "Poseidon Adventure" climb up a vertical shaft with sharks circling beneath and a tragic helicopter evacuation. Think about "Jaws". Spielberg barely showed you the shark for the first hour plus, and when he did, it was in glimpses. Harlin beats you over the head with his massive killer beasts, letting one of his characters RIDE ONE in the first ten minutes. Kind of takes the edge off.... Harlin is no Spielberg, that's painfully obvious. But you have to give the man credit, he stages some of the best explosions I've ever seen here, topping his Lighter/gasoline/exploding 747 in Die Hard 2 and equaling the Nakatomi Tower blasts from "Die Hard" and even Largo's yacht explosion at the conclusion of OO7's water bound adventure, "Thunderball". Unfortunately, when the smoke clears after those massive fireballs, there's very little to see. Deep Blue Sea gets a painfully shallow D.

This summer, on the 40th anniversary of it hitting theatres in 1977, I went back and revisited the underwater thriller THE DEEP. After Peter Benchley's novel "Jaws" had been adapted into an all-time box office smash by Steven Spielberg, studios were battling to bring his next novel THE DEEP to the screen. They even brought Robert Shaw (who starred as Quint in Jaws, The Sting) aboard as Romer Treece, a famous treasure hunter in Bermuda who's become a well known expert on the shipwrecks of the area. When young vacationing couple David (Nick Nolte) and Gail (Jacqueline Bisset) discover a huge stash of morphine ampules aboard a wreck, they go to Reese for help. They also attract the attention of Haitian bad guy Cloche played by Louis Gossett Jr (An Officer and a Gentleman) who knows the value of the drugs on US streets. David and Gail suffer threats on their lives and escalating attacks as they continue to dive on the wreck. With great underwater photography by Al Giddings (Titanic, For Your Eyes Only) and a lush music score by John Barry, The Deep is beautiful to look at and listen to, but those underwater scenes can get a little sleepy after an hour or so. There are some well executed battles on land, especially between David and Cloche's thug on a beach-side elevator and a violent face off between Slake and Kevin, the massive right hand men protecting Shaw and Gossett. Director Peter Yates (Bullitt, Breaking Away) keeps things suspenseful but those looking for Spielberg/Jaws type thrills were surely disappointed. Nolte is very good and Bisset is terrific & stunning, stealing the movie every time she's on screen underwater or on dry land. Produced by Casablanca Filmworks, they grabbed 1977 superstar Donna Summer for a song you can hear in the island club. Casablanca released one of the coolest albums of the decade with an ocean blue soundtrack, one side of which was a long suite of Barry's music score for the film. Quite a collector's edition back in the day. With some interesting treasure dive history, plenty of explosive action and a killer moray eel thrown in for good measure, THE DEEP still holds up as solid summer fun and a slower, pure popcorn cousin of JAWS. We'll splash it a nostalgic B-.

One of Goldie Hawn's rare ventures into pure thriller territory, 1991's DECEIVED is an interesting drama that will keep you guessing for at least half of its running time. As the film opens, Adrienne (Hawn) is meeting a blind date at a restaurant. While the date never shows, she does share glances and flirtation with a stranger alone across the restaurant. When that same man shows up at her studio the next day, its either the greatest coincidence of the year or part of a much bigger plan. The man is Jack Saunders, well played by John Heard (Home Alone, Cat People) as an art dealer who says he's met Adrienne before. As the film unwinds, the two fall in love, have a daughter and seem to have five years of marital bliss. And then, as things tend to do in these movies, or at least in the maddeningly uneven screenplay by Mary Agnes Donoghue (Beaches, White Oleander) Adrienne begins to suspect that Jack is having an affair, and that he may be a thief...and then...... The less you know the better from the halfway point. There is a mysterious death, some very well done cat & mouse snooping that will remind you of DePalma and Hitchcock in all the right ways and then some unraveling of the suspense as the truth emerges. Hawn remains good throughout and she's believable as both the trusting spouse and an intelligent woman feeling betrayed. For those of you that only know Heard as the Dad in the "Home Alone" movies, you'll find plenty of unexpected range from him as the plot unfolds. The last suspenseful confrontation between Adrienne and a major character starts off well and then ends in a moment that probably looked brilliant on the page, but seems only half executed on film. At THE key moment of denouncement, you find yourself thinking "hey wait, what happened there, did he....was it dark?..what exactly...." these are not the thoughts that should be running through your mind at this moment. But, if you can buy that moment, you'll probably have a pretty good time and let the better sequences carry you through. Hawn is a strong lead and is perfectly capable of carrying a non-comedy. It makes you wish she had done more straight roles like this and "The Sugarland Express". The film's good at taking the "When you fall in love with someone, how much do you really know about them" and chasing the possibilities down a very dark alley. As Goldie said at the time, "If he isn't who I think he is, then who am I?". An interesting premise and for at least 45 minutes in the middle of the film, very well explored. Deceived gets a B-.

OK, granted I went in expecting nothing, but damned if DEATH WISH didn't deliver an old fashioned revenge tale with over-the-top style and unexpected humor from a seemingly ageless Bruce Willis. Updating the original story from the Charles Bronson mega-hit of 1974, we meet Neurosurgeon Paul Kersey (Willis) in his role as leading doctor at Chicago's busy trauma hospital. We glimpse his perfect life, beautiful wife Lucy (Elisabeth Shue) and daughter Jordan Kersey (Camila Morrone, terrific in her first acting role) as they get ready to celebrate his birthday. When a Chicago gang of thieves enters their home and brutally attacks his wife and daughter, Paul finds his entire family being wheeled into the emergency room near death. Paul's transition from surgeon to vigilante killer is painted more realistically than the Bronson version, weaving in our current society of 24 hour news, cameras on every phone and social media blowing up the story overnight. Willis is flawless in this kind of role, making you feel his loss and frustration at the system's lack of progress and justice. As Kersey goes from amateur to revenge soaked killing machine, Director Eli Roth (Hostel) layers on the graphic violence and carnage. He's never made a fim that I've cared for, but he's found a blood soaked muse in Willis, who somehow makes the spilling blood and splattering innards more palatable. The original was controversial in 1974 for glorifying violence as it condemns it through Paul's actions and the same could certainly be said about the 2018 version, but I was enjoying an old fashioned action flick too much to care. Vincent D'Onofiro has his best (least eclectic) role in years as Paul's brother and Dean Norris (a veteran actor from every TV show you've loved the last 30 years including "Breaking Bad") is very good as the lead detective on the case. Roth's first Non-Horror film, it's a violent, fast-moving throwback to the films of the 80's Stallone (who produced this film), Willis and Arnold films, that of course were that decade's version of Bronson's 70's hits. Recycled, refurbished and in your face, DEATH WISH kills it and gets a solid B.

There's a whole lot of talent in front of and behind the camera in 1982's box office hit DEATHTRAP. Based on Ira Levin's successful play of the same name (and sometimes feeling a bit like a filmed stage performance), we meet some decidedly untrustworthy characters. Playwright Sidney Bruhl (Michael Caine) has just had another Broadway flop. He's had more misses than Max Bialystock ("Producers" fans unite) and is beginning to think he’s lost all creative spark. Money is running thin and his wife Myra’s fake enthusiasm is grating on his last nerve. Dyan Cannon (Heaven Can Wait, The Last of Sheila) is at full volume throughout, but brings more than a few smirks with her reactions to Sidney’s pain. Enter young playwright Clifford Anderson, who just happens to have mailed Sidney the only copy of his first play. It’s a masterpiece. Sidney alternates between fury at the young man’s talent his first time at bat and jealousy of Clifford’s innocence. Clifford is played by Christopher Reeve, who was fresh off of Superman II and looking for a different kind of role. What follows is a twisting, turning mystery with Sidney inviting Clifford to their house, Myra growing suspicious of her husbands intentions and their next door neighbor, a famous psychic named Helga ten Dorp (Irene Worth) dropping in to portend great impending danger. Jay Presson Allen (Marnie, Cabaret) adapts Levin’s play into a screenplay with many twists, turns and triple crosses that keep you guessing, while piling on perhaps a bit too much incredulity. Sidney Lumet (Serpico, Network, Dog Day Afternoon) keeps everything moving, making the most use of the Bruhl’s claustrophobic home (windmill included),which is the setting for nearly the entire film. The bottom line is that this every-changing, house bound murder mystery has been done much better before, notably with Caine and Laurence Olivier the same year in SLEUTH. Caine and Cannon are good if a bit loud, Reeve is not very good, just as wooden as he was in “Somewhere in Time”. The man could rock a cape, but outside of those films, woof. Fun but over the top, DEATHTRAP eventually succumbs to its own over indulgences and gets a B-.

Originally part of the 3 hour, double feature homage to 70's drive in cinema "Grindhouse", 2007's DEATH PROOF is the fifth film from Quentin Tarantino, and at first glance, a lesser effort. When I first saw "Grindhouse", I was really put off by the unending profanity and slow, long dialogue scenes, but a decade has aged the film well, and its MUCH better than I remembered. We meet two different groups of young, independent women that both cross paths with Stuntman Mike, played with slimy, sexist sleaze by Kurt Russell. After we see what happens the first half of the film, the movie flashes forward and we meet a second group of women, led by real life Australian stunt woman Zoe Bell, Abernathy (Rosario Dawson) and Kim, well played by Tracie Thoms (Rent). As the girls bond over drinks in Austin, Texas at a honkytonk overseen by Warren (Tarantino), they bond and spar over topics with style and balls to spare. When Stuntman Mike becomes obsessed with them, he shadows them quietly, getting bolder in his stalking. When Zoe finds a replica of the car from her favorite 70's car chase movie "Vanishing Point" ( a personal favorite of my brother Mark and I) she takes the car for a test drive that turns into a fast-paced incredible car chase and joust with the deranged stuntman. I don't care how slow the first half is, the payoff is worth the wait. Tarantino stages a tribute to the best car chases of all time, using real cars, NO CGI and fantastic camerawork. Bell is one of the best stuntwomen in the world and her adventure on top of the hood during a 75 mile an hour chase is incredible, fantastic, there are no words. Tarantino ramps up the action and violence to heights only he can pull off, crafting a female revenge story that's hilarious, graphic and kicks ass for the film's final 30 minutes. Russell is game, playing crazy to the hilt and matching the bravado with some seriously hilarious whining and panic when the women turn the tables. At one point, Zoe jumps half into a speeding car, sitting on a closed door with one leg hanging outside and a steel bar held out like she's ready for a death metal joust. It's jaw-dropping cool in a way only Tarantino could pull off. Bell does all her own stunts. She was Uma's double in the "Kill Bill" films. At one point, QT stages a car crash that's so graphic, tires run over faces, limbs fly through the air and heads fly off. And then he repeats it over and over in a slow motion orgy of violence. I think only QT can craft this kind of scene and make me not only watch, but replay it with an appreciation of his craftsmanship. He's like a maestro of graphic action, making you feel all too comfortable before smashing cars together at high speed so hard you can smell the smoke. A tribute to the "Vanishing Point", "Dirty Mary, Crazy Larry" era with a splash of "Bullitt", DEATH PROOF kills and gets a B. If you are offended by profanity, blood or graphic violence, RUN AWAY like you just saw Stuntman Mike at the bar.....