“Death drive” is not the best translation for a film called “Heathers”, but there is simply no better; on the other hand, it was possible not to hit the monstrous speech cliches ... but what is, that is, and another will not give – a position that domestic localizers of the name adhere to for more than thirty years.
Technically, the film has both death and attraction, and even all of it; only there is no overcoming of death by love in it to this day - it is, in general, not a melodrama ... at least formally. If you call the Heathers any drama, it's definitely social -- well, at the school level, not the community level. At the level of society... Love is there, too, but it only at first seems traditionally melodramatic: she is a smart girl, different from an empty and mercantile society, headed by a trinity of rich smug girls, he is a protest boy, an informal hooligan, a sweet with the charm of danger. They both consider each other better than all those around them, and from this moment begins what is not at all included in the canons of the traditional teenage romcom: he is ready to change society, and she is not, and it is not about conformity and adaptability, but about much tougher things - the inability to kill, for example.
Unsurprisingly, the film failed at the box office; and also unsurprisingly, it garnered excellent fees thanks to its distribution on VHS. It is still a very teenage film in its atmosphere – let’s even leave aside the topic directly related to school relationships: teenagers really love works with their peers, especially when it comes to relationships within the school team and the conflict of the elite with the informal minority. The difference between "Heathers" and other products with approximately the same content is, firstly, in an amazing gloom, cynicism and at the same time honesty in showing the social school hierarchy and the real state of affairs, not sliding into indiscriminate condemnation of some and praise of others, and secondly ... it is not a romcom and not a melodrama. This is a black comedy about inventive murders. Now it is obvious that schoolchildren like to watch their peers kill each other (hello to The Hunger Games, Divergents and the rest of Akuma no Riddle), but for ’88 this thought was not obvious. It would be unfair to think of Heathers as just a macabre horror story like the one that came out a decade ago — that’s not entirely true. But the murders played an important role in his popularity.
Like his style, it’s worth paying tribute to the Heathers production artists, because this film is incredibly stylish and recognizable. It's pretentious-eight-year-old, a bit old-fashioned and equally appropriately blending both white fashion classy girl and informal rocker mainstream - not in the way it would be in "Crystal," but almost. I don’t know if Heathers influenced the fashion of the early nineties, but I wouldn’t be surprised: all these broad shoulders, bright fabrics, incredible kitsch in a combination of textures and shades – yes, something similar can be seen in the “Breakfast Club” and “Beverly Hills 90210”, but only in “Heathers” these elements are used consciously and not at all to show everyday life. Everyday, refracted through the absurdized teenage fashion - yes.
And that’s why the new remake series on this film seems even creepier, because... well, seriously. Yes, perhaps some things, especially so emphasized tied to a particular decade, need modernization, but – do the creators not understand that infantile tampler style – not the same as they tried to show in the original?
They understand everything, they just don't try.
The film begins in the spirit of a typical high school comedy: it could easily be called "Mean Girls" or "Crazy" of the eighties. The only thing that distinguishes the plot of "Death Attraction" from hundreds of similar bundles - wit. English-speaking audiences parsed the film into quotes, often taboo in our politically correct times, touching on rather sensitive topics (indeed, how can one refrain from saying "fuck me gently with a chainsaw, do I look like Mother Theresa?" or "bulimia is so "87").
With the development of the action, the difference between “Attraction” and genre brethren becomes increasingly obvious. The plot is noticeably more complex and multilayered, and the clichés beaten to death by American high school do not provoke irritated tapping. What’s more, Daniel Waters — if he’s not a great writer — turns all platitudes into something unexpected. He plays with the expectations of the viewer, each time managing to put another layer on the first such obvious scenario.
Cinematographer Francis Kenny’s work also exceeds initial expectations. Carefully built frames do not seem intrusive and are good enough to give the story a beautiful frame, like a tasteful vignette.
The story itself has been relevant for almost twenty years. With the ease of a magician pulling a rabbit out of a hat, the director and screenwriter point both at global issues (misunderstanding of generations, public safety issues) and at more personal experiences. Winona Ryder, who plays the main role, made her character a real, worthy of sympathy, thereby becoming the living center of the film, its heart.
Moderately clichéd reactions of the characters to grotesquely unusual events make the film “Deathly Attraction” insanely funny, thereby overshadowing the most serious rising problems, which seem even more significant in contrast.
10 out of 10
Oh, those kids! Constantly confirm “difficult age, difficult age”, and how difficult it is, and what dangers the puberty period is fraught with – go, figure out, so that the gentle teenager soul does not disturb and others from the exuberant young energy to protect. For teenagers, it is a trifling matter to boil from misunderstanding of others. In fact, it is so simple to accuse the whole world of wrongness, your own parents of idiocy, teachers of idiocy, and unwanted classmates of homosexuality. And if someone does not like something, then you can always whistle to the help of the local elite, consisting of three smug girls named Heather. Well, in the most extreme case, if the so-called friends show inappropriate arrogance, there is a radical way to solve problems - a pretty guy with criminal inclinations and a sonorous nickname JD. Maybe someone will then understand her, the poor rich woman, an excellent student, a clever and charming Veronica, who endlessly has to torture a notebook leaf to at least somehow calm the whirlpool of thoughts about her own unsettledness that revolves at the speed of the washing machine drum.
"Dear Diary..." is the most frequent phrase of the popular black comedy, which seriously influenced the acting fates of Winona Ryder and Christian Slater. In the urge to pour out thoughts and feelings on paper with typical teenage rage, it is easy to notice the increasing complexity of contact with adults. Cool or consider themselves such teenagers have a very simplified idea of authority, and in their youth simply do not imagine themselves once mature and especially someone mentoring. To live here and now, to snatch everything from life to the maximum, not to take into account anyone's opinion, in which case it is easy to overstep any norms of morality - these guys and girls are full of theses in the unwritten code of dishonor, and existence itself, in fact, is confined to the school walls and surrounding areas. Mythical justice for the sake of Veronica and her new friend are ready to teach a lesson to one of the “Clan Heather” for a vile antics at a party, and in their immature minds and thoughts are not born about the crossed line, the return for which will never be.
On the other hand, there is nothing to think about if active action is so attractive. Over his years, the developed JD, who even switched family roles with his own father, looks like an alien from some evil dimension in a matriarchal school. The first trick of his hero Christian Slater skillfully asserts his own standard of quality. The art of manipulation, which is so well mastered by the brazen JD, is a beastly entity locked in a human shell, produced with only one purpose - to sow chaos. Not for anything, not for myself, but just to see a piece of the world burning in flames. The theme of suicides of schoolchildren, in fact, is one of the manifestations of black humor, gaining strength of total absurdity, which became possible due to the uncontrollability of the aggressive generation. Watching the seemingly solid teaching staff react to the death of Heather, and then to the double murder of two of Veronica's abusers, there is no doubt about the merits of the bloody reckoning that J.D.'s slickly stretching lips creates. “Let’s be united, let’s hold hands!” exclaims the exalted teacher hysterically, turning the climax into a natural buffoon watched (even more horror) on television by the parents of schoolchildren.
The ill-calculated translation of the title of this film, surprisingly aptly reflected its essence. Three girls Heather has nothing to do with it, when on the screen fall into the voluntary-forced rage of a couple of lovers of revenge. If the creators of the picture initially set the task to provide young stars with complete improvisation, then Michael Lehmann’s comrades can only be congratulated – the guys walked from the heart, only the “costs of production” in the number of corpses somehow a lot came out for the comedy. However, if from the tragic funeral ritual, the director managed to stage a witty performance of several acts in his own way, then a fair number of holes in the plot can be ignored. In fact, the pretentious speech of the father of one of the victims, followed by a mockery of Jay-Dee, gives one of the bright black features of the film, and there are already many of them. Coolly played by Winona Ryder, the tantrums of her heroine do not allow the picture to fall into full modernity, and her extravagant antics, which made the boyfriend fall into torpor, deserves special praise.
What does not deserve praise is the denouement of a comedy-grotesque story. Gradually built environment of general hysteria, chaos and insanity was almost blocked banal "leak". Years later, on the relative fishlessness in this topic, the fervent tape was able to establish itself as a canon of the genre, but nowhere to throw away the feeling that the director was afraid of his own aspiration and removed the wards of Slater and Ryder. The whole film from the heart crucifying and weighing cracks archaic methods of education, Michael Lehmann still decided to look around and saw behind his back images of morality, which was alive. And immediately turned out to be less significant and well-chosen musical accompaniment and excellent play of young actors and an abundance of sarcastic places. The farce remained a farce, without the possibility of acquiring a dominant significance, and difficult teenagers still to educate and educate, so that they find some other fashion than singing praises to murdered classmates.
What a lost father Jason had when his son turned into such a devil.
What are the interesting movies about school and youth? School is always a small copy of the whole society, and young people are the most active and sincere part of it. It is in her heads that the most absurd and ridiculous thoughts that pop up in the brains of everyone live and find an outlet, but in which it is indecent or terrible to admit. How do you do that? You just have to tell everyone that they think you’re crazy. Or worse, they think you're planning a crime. Therefore, in real life, few people dare to have any revolutionary thoughts and, of course, rarely anyone comes to think of doing anything. Another thing is that the film in it can legally raise all the most secret problems of society and all, even the most inadmissible ways of solving them, which one of the heroes of the film offers.
A guy like Jason Dean is a mysterious, out-of-the-world guy who doesn't stay anywhere long, changing schools like gloves. An unknown person about whom no one knows anything, and no one even knows how dangerous such people can be. But while all the students of the school are in happy ignorance, and are engaged in their favorite occupation - trying to survive among similar. And even if someone told them that there was a killer next to them, it hardly made any impression on them and they were distracted. After all, to some extent, everyone in this school is a murderer, and wants to destroy the other, so as not to die himself. And every day, someone is mocking someone, and someone bears grievances, or maybe already does not bear, tired of bearing down and his peers have already morally killed him. Hence, there is an epidemic and the fashion for suicide among schoolchildren, because there are always more victims than winners. And when the mental torment of those whom others kill morally every day become intolerable, the most terrible of their physical death ceases to be terrible for them, even on the contrary seems to them salvation from the hell in which they live every day.
This is what Jason Dean took advantage of, putting suicide at his service and manipulating people - he literally turned the life of the whole school. He imagined himself to be a rebel, chosen, having made death his faith - he apparently decided to stage a mini-apocalypse and even to destroy himself with everyone. But it is useless to seek what he wanted to express by all this, for all he expressed was himself and the meaninglessness of his being. He was not afraid of death, he was not afraid of losing it, because he saw in it absolutely no value. And Veronica told him rightly - you're not a rebel, you're crazy! Because Jason didn’t know what he wanted, he seems to have proved to himself the meaninglessness of his terror and protest. When you make terror an absolute, it just doesn't make any sense, and Jason realized that everything he was going for was one big zero. Or it was originally. Therefore, even when he could achieve his goal and send everyone to his forefathers, he does not do this, and Veronica wins. So his journey is complete. And Veronica’s journey has no end, because her path is love of life and people, and unlike Jason, she will never be disappointed in her existence.
But Jason is still sorry, maybe if he had not lost his mother in early childhood, whom he loved more than life, everything would have turned out better for him. But his father, a man who decided that he had the right to do evil, did not leave Jason a single chance, making evil others he destroyed his life and his family and nothing from this absolutely did not win, although probably he has a different opinion on this matter, lost people always have a different opinion on this matter. What a lost father Jason had when his son turned into such a devil.
By the age of 27, you begin to understand something. For example, now I definitely know that my heart will be broken more than once by guys with a cunning squint of slanted eyes, but this, my dear Christian Slater, does not concern you at all. I don't know why, but his Cheshire charm had no effect on me. Although now I see what the director of "Death Attraction" wanted.
Thank you to this film for awakening one forgotten feeling – when you are sick with some work, you trample around one scene, remember it, try to solve it. Is that why cricket? I wonder why American schoolgirls should play a prim English game? More than once. Does the director give this game special importance? Or does he, having performed the puzzle, open this game as a clue over and over again? Come on, Olya, guess. Yes, give me brushes, I will finish, give me my word, I will finish! It doesn’t matter what others think, it doesn’t matter if my opinion coincides with anyone else’s. Just, if someone is not “just” watching a movie and not “just” writing here, he will understand my quiet delight.
And now that I know this clue that the movie “Deadly Attraction” is a movie about growing up, it’s a film about Alice growing up, and not quite in the mirror. Her breasts grew and her lips became like cherries, only in her head all the same conventions and trul-la. She wanders the school jungle, plays cricket with the red queen, meets a Cheshire cat ready to blow her conventional morality with one shot of cat eyes. But that's not enough. The director says (and this is a huge rarity when the director "talks" to his viewer) that "kill" the queen, destroy evil, is half the battle. It will be replaced by a weaker, more vicious rival. What Ryder's character did at the end of the film - grabbing red hair gum - is more than a challenge. Carroll's Alice had only to wake up to grow up, here, in "Deadly Attraction", a reality saturated with illusions requires action. The games are over, something vague looms ahead, stingy with praise. Veronica's choice is not a choice of edited morality. It seems that life itself sits in this wheelchair, and you just need to turn to it to “come to yourself, to yourself.”
P.S. “Que sera, sera, whatever will be, will be” will not be associated with “The Man Who Knew Too Much.” Lehmann cuts this indisputable truth of “what to be, what not to pass”, sharp sharpened scissors. "The future belongs to us," he cries in 1988. And I want to believe him.
This picture, released in 1988, is quite interesting. It is interesting not only the script idea, which is later, it is interesting to those people who were involved in the production of “Death Attraction”.
The film was directed by debutant Michael Lehmann (at that time he was 31 years old), who will then shoot Hudson Hawk with Bruce Willis, The Truth About Cats and Dogs with Uma Thurman, 40 Days and 40 Nights with Josh Hartnett, but he will work more on television and has an extensive list of works with TV series. Lehmann's first pancake didn't come out in a lump. He connected a somewhat comedic influx about relationships in the American school environment, then reformatting the tape into a thriller, in which, with the current existence of affairs, he looked into the future (but this, however you like it), murders in American schools occur with unpleasant regularity. If so, casually, then the picture is shot according to the canons of its time - there is nothing beyond the norm here, but it is shot well, the quality does not disgust and even creates a kind of nostalgic effect, when they could shoot tapes with a banal plot, but shoot well. “Death drive” is well filmed.
About the banality of the plot of the picture I can not say anything. Then, and now, there were not many films about violence in school. At that time, the screenwriter-debutant Daniel Waters must have tried to create a shocking “bomb”, how is it so: there are murders at the school, and everything is attributed to some fictional “suicide club”, where the school and the authorities look, when schoolchildren are overcome by the desire to kill themselves, and the perpetrators escape the answer? This did not quite work out, since realism is still not enough, it is hard to believe that the Yankees are so stupid as to turn a blind eye to the obvious, and going to school with weapons (please note – this is not a school for “colored”, there are only whites) remains almost unpunished. There are nuances of the plot that strongly cast doubt on the plot course of the action and its logic, so Daniel Waters (then he will once again collaborate with Lehmann in “Hudson Hawk”, and also write scripts for “Batman Returns”, “Destroyer” and of the latter – with “Vampire Academy”) did not work perfectly.
Now the actors. The main roles are young “stars” of the generation, who were predicted a great future, but now their careers are declining. This concerns Winona Ryder, who attracted attention after the funny fantasy “Beatlejuice”, where she played a marginal child (although the role was written specifically for Jennifer Connelly) and about Christian Slater, who emerged from the continuous stream of TV series and showed himself well in “The Name of the Rose”. Young actors (Ryder was 17 at the time, and Slater was 19 years old) managed to convey both school youth and their expression in the fact that the whole world is at their feet, and the antics are not so terrible, everything is somehow perceived with naivety. But they clearly had a more difficult task: after “Deadly Attraction” goes into the genre of a thriller, they had to play out all the psychology of what is happening, conduct a visual and deep change of characters, but in some places they still seem raw, somewhere clearly lacked experience, somewhere still no-no, and naivety and prosaic will pop up. But for experience, this picture is very suitable. Pretty Shannan Doherty? Even after this film, there were great doubts that it would reveal its full potential, so now she is wandering from series to series.
The film is good, but not so much as to enjoy cult demand among young people, it did not become such. It is a pity that its relevance still persists, it is necessary to fight the problem of weapons in schools, or else there is a big trouble, even good that in "Death Inclination" all this is a creative fiction.
6 out of 10
Chaos Killed the Dinosaurs, Darling (A Simple Opinion of "Heathers")
A simple opinion without ten hundred. The quote is brought to the title, so that the “cap” is spared from excessive cleverness. "Death drive"
Recently, Hollywood is increasingly reminiscent of the past decades, and it makes sense to talk about nostalgia. The latter captures the audience, regardless of the film: “American Hustle”, “Argo”, “Days of Future Past” does not matter what is at the heart of the film, and whether the movie received an Oscar. More often, the plot cannot be detached from the attributes of time, since the action takes place in a certain era, but the thoroughness with which the creators of such tapes recreate the details of bygone years is striking. Smoking anywhere, old, stylish cars, music, mores or just a lava lamp on the bedside table – there are many details, and almost all find a response in the soul of the viewer.
Cinematographers watching certain kinds of movies can get the same emotions. Cinema did not seek to get into a cohort of nostalgic, on the contrary, they are stuck in their era. The late eighties in the United States gave rise to longing for the outgoing generation and decade, time. The era changed, as the attributes of society and life changed, which itself immediately affected the cinema, and films about teenagers vividly reflected these changes. Young people have always been at the forefront of evolution, and movies about them and high school at the time are the most vivid demonstrations of the transformation of society.
Heathers can be attributed to a cohort of teen black comedies and not taken seriously, and previous words are irrelevant to the subject matter. But that's at first glance. Bonnie and Clyde are in the past, but there’s still time before “Natural Born Killers” – a farewell to rebellion for no reason and an introduction to more brutality overt, without much subtext or design. The goal is chaos. The hero of Christian Slater, presents the protest in its pure form, and personifies James Dean himself, presents Veronica, played by Winona Ryder, a new time in which everyone does what they want. The desires do not change over time, and will be clear to the modern viewer: acceptance and wish by peers, confrontation with adult society, the desire to fit into the school hierarchy. And all this is mixed up in entertainment, sex, the desire to blow up school or commit suicide.
“Deadly Attraction” (God forgive the localizer who invented this) through the words and deeds of the main characters tells a simple and at the same time frightening truth: everything changes around, and with a slow pace. A single person may remain the same, and his small little world is likely to feel no change, but this person will not have time to blink when a new world, a new society, arises around him. The old-school rebels are no longer like Farris Buehler, and the Breakfast Club members would rather kill each other than dig inside themselves. The system rules the ball, a social hierarchy that forms in one way or another in any closed human community, be it a class or a prison zone. Veronica sees and feels the action of this system, as it belongs to a prestigious “club”, the basis of which is three girls named Heather. Rising almost from the bottom of the local scoreboard, the heroine of Winona Ryder is well aware of all the background, not shying away from participating in the persecution of classmates and in prestigious parties. The key to success is bastardism and unscrupulousness, the main rule is “who is not with us is against us”, and the right of succession has not changed since the monarchy. The hero of Slater, like Victoria, is well aware of what is happening around, as he looks at everything from the sidelines, not getting involved in what is happening, waiting for a convenient moment to join the game. Plays the hero JD is no longer by the rules of the naive eighties, he is a harbinger of the nineties. His recipes: “Do not like a classmate – kill him, presenting everything as suicide”, “Refusal to shoot another can be circumvented by deception, handing a real gun under the guise of a dummy”, “Want chaos, or blow up the school – find more TNT”. The above described are sarcastically packaged in a cynical wrapper from the contrast of the perception of the world by adolescents and adults. The conflict isn’t new, but Heathers weaves a time component into it — the older generation naively perceives teenage violence as suicide. The older generation is saved by false quotes from Moby Dick. No matter how great this book was, and no matter how tragic the reading of the suicide note was, there will be in the company of young people who find it amusing, and in some cases, also involved.
The tape largely predicted how society would behave, the final was even reshooted - it seemed too gloomy to the target group. No one wanted to see a funny, slightly grotesque film as an instructive story, so they had to close the story with a logical ending, but giving a chance for correction. A little later it turns out that the hint was understood, and the explosion of society from boiling without descent of steam is postponed. Slater will then play "Hack it to the fullest", continuing to be the voice of the rebels, but that rebellion will already be inside the system, against the system, methods of the system, addressed to the personalities within it.
In the meantime. For now, the author of this text wishes to think that the understandable popularity of an accountable film lies precisely in social reasons that no longer depend on the era of storytelling - whether it is the eighties or tenths of the new century. And very soon the film will leave the list of the best films about the school. I hope that the film is reviewed, quoted and remembered because it showed the viewer the world through the eyes of a teenager, and changes in society faded into the background, making it clear that a teenager always sees the end of the world before him, even if everything is good around him. I want to believe that the film will one day cease to understand, perplexed by the actions of Jay Dee, and sincerely, not understanding what he wanted to achieve and what he was going to do. I would like to believe that the film foresaw another thing – the bombing of the school is canceled.
I love black humor and Winona Ryder - because of this, I began to watch "Deadly Attraction" (thank God, I immediately learned that in the original it was "Heathers", and then Russian translators tried to fame: it is difficult to think of a more vulgar and banal and less reflective title of the film).
From the first minutes of the film, it felt like it was originally made as a movie that should become a cult movie: cool outfits, cool phrases, cool antics and very, very cool Veronica (usually I don’t write that way, but I think these words best reflect the essence of the cult teenager film). Overall, we can say that the director is good. He stagnated in his film, probably, everything that was characteristic of the American (and not only American) high school of that time, but the movie did not come out without morality, which is still very necessary in teenage cinema, in my opinion, and in the end it did become cult.
Winona Ryder is also, as always, good for me. This is such an eternal beautiful cleft (I am not indifferent to this type in myself), and who, but she, could best cope with this role.
And also, as a girl, I can’t help but note that although this was all filmed already in 1988, but throughout the film I was very interested in the outfits and hairstyles of Winona and Shannen Doherty, who is still young and charming here – the stylists are also good.
As for Christian Slater’s character, I saw the progenitor of Tate from American Horror Story, which was also directed by Michael Lehmann. And since I'd met Tate before, JD didn't make such a strong impression on me.
In the end, I have to say that there are a lot of good and very good components in the film, but in general I was missing something. Maybe I’m just overgrown or fed up with the subject.
I watched this movie for the first time six years ago. I don’t remember what made me do it, because at that time I tried not to watch old movies.
And you know, I fell in love with everything in this movie. This is a film about two worlds: teenager and adult. Two universes that do not seem to touch. This is a film about friendship, about good and evil, and much more.
Teenage suicide is probably still one of the most pressing problems. The author managed to look at this problem from a completely different angle. In many ways, this film is a parable about modern teenagers, and the fact that it was shot twenty years ago does not reduce its merits, and does not make it less relevant.
You know, the most significant thing for me is the conversation between the parents and the main character.
It always follows the same pattern: Why do I keep reading novels like this? -Because you're an idiot. And so from day to day, the father asks the question, just to create the illusion of a relaxed conversation with his daughter, and he does not expect any answer, and hardly hears what she answers.
And so it always is: the mother does not understand that could lead her daughter to suicide, perhaps the fact that she forbade her to work in the summer, is the reason.
Teenagers don’t want to share their problems with adults, why? Who can help them. Nobody cares. Adults are in a parallel universe, they can believe anything, because for them the teenage world is alien and incomprehensible and easier to just say ok and just forget about everything. They create the appearance of activities to eliminate the spread of suicidal behavior among adolescents, but it all boils down to hypocrisy: both on the part of adults and adolescents.
Very good film, which in easy form gives rise to reflection. Plus great implementation, young Winona Ryder, Christian Slater, Shannen Doherty are great.
The review was delayed, it's time to approach the assessments, so the film deservedly gets
10 out of 10
At first glance, the Westerberg High school does not differ much from most similar schools in the American hinterland. Here, as everywhere, there are their authorities (four girls from the group “Versesk”), and there are their outcasts. But suddenly everything begins to change with the appearance of a new student at the school, Jason (Christian Slater), who completely captures the attention of one of the girls from Vereska - Veronica (Wynonna Ryder).
The eccentric black comedy Deadly Attraction of 1988, which became the directorial debut of Michael Lehmann, looks at the problems of teenagers and how they survive in the school jungle from a very unusual angle. The adult characters in this film are emphatically colored with a touch of sarcasm, and the scenes of meetings with the director still truthfully reflect the cynicism of such people in dangerous moments, when the school turns not into a temple of knowledge, but into places of crime.
Even by today’s standards, the film looks very relevant and fresh, although many may be slightly shocked by the shameless black humor that reveals the most painful aspects of then and today’s society.
Among the cast, I would like to highlight Winona Ryder, whose image is key in the film, and Christian Slater, to whom the image of the scoundrel Jason perfectly suited. For both actors, the film “Death drive” became a milestone in their career, making them idols of a whole generation.
Despite the fact that the film was released in limited release, the tape quickly gained cult status and at the moment “Death drive” is one of the best films about the world of teenagers. I recommend this unusual, slightly wild, but still interesting film to all fans of black humor and teenage comedies.
10 out of 10