The world is in shambles. The country is on the brink of depression. Millions are out of work. Violence is now considered entertainment. Convicts are now reduced to television stars for our own sick amusement. And we’re now on the brink of revolting against a corrupt disgusting government run by a madman. But enough about modern times, right now we have “Death Race”! A film that barely covers any of those issues beyond using it as a back drop for the basis of the death racing, where as Corman’s original was so ahead of its time, it perfectly encapsulates what this generation is all about and it was made in the seventies! What Paul WS Anderson has accomplished is convincing people “Death Race” is an actual remake, when it’s only just an adaptation of the popular death racing game “Twisted Metal” where weaponized automobiles are used to race and destroy each other with assorted tricks.

Give Anderson credit, because that takes a special talent. He even manages to take a potentially wonderful cameo from the original Dr. Frankenstein and completely wastes it with a disappointing car chase that ends in rubble and eye rolls. With the sudden appearance of the original Frankenstein with David Carradine behind the mask, there's an obvious confusion as to whether writer Anderson is trying to decide no whether this is a remake or a sequel. It certainly can't be both. If that’s not enough, “Death Race” is a basic video game, constructed with cut scenes that pass as story, set up that passes as characterization, and there’s even a sequence explaining the assorted racers, all of whom pose with their cars like player profiles. There’s even a coin system for drivers to earn points, and an announcer explaining the assorted stages. It’s appalling that this is what’s become of action movies, but it’s really not too surprising that this is what’s become of remakes.

Is it a remake, is it a sequel? This multi-purpose piece of wannabe science fiction fodder is a painful imitation of Roger Corman's cross country racing flick sans the intelligence, disturbing violence, entertainment value, energy, and... well everything else that makes movies good.