Rating summary

Movie		3.5
Video		4.5
Audio		4.0
Extras		3.0
Overall		4.0

Deathsport Blu-ray Movie Review

Reviewed by Brian Orndorf September 12, 2020

While it was once intended to be a sequel to 1975’s “Death Race 2000,” 1978’s “Deathsport” gradually became its own thing as it sped toward production. Instead of satiric hellraising with a wacky cast of characters, “Deathsport” offers a futuristic barbarian adventure with grunting actors, dastardly villains, and lots of motorcycle chases. Directors Nicholas Niciphor and Allan Arkush are more interested in completing the feature than perfecting it, delivering a Roger Corman production that falls in line with many before it, gifting a backyard production to an audience hungry for B- movie nonsense. The endeavor isn’t polished, but as these junky things tend to go, it’s diverting, speeding along with fast vehicles and survival missions, and some light world-building doesn’t hurt. It’s no Corman classic, but the energy of the effort is engaging, along with the creative drive to turn absolutely anything into a post-apocalyptic epic. There’s charm in the visible filmmaking hustle.

Far into the future, the world has recovered from the “Neutron Wars,” developing a new society where the privileged live in protected cities, and the wasteland is ruled by cannibal mutants and Range Guides, who maintain a nomadic life. Oshay (David Carradine) is one of the most feared Range Guides, finally captured by the evil Lord Zirpola (David McLean) and brought to Helix City for punishment, prepared for participation in Deathsport, a gladiatorial event. Also collected are other Range Guides, including healer Deneer (Claudia Jennings), who’s separated from a child she’s sworn to protect. Enduring torture and menace from Ziropla’s henchman, Moor (Richard Lynch), Oshay endeavors to find a way out of Helix City before he’s put to the ultimate test: battling soldiers on “Death Machines,” or motorcycles with laser attachments, in front of crowds delighting in the mayhem. Teaming up with Deneer to achieve his freedom, Oshay is quickly introduced to additional threats, while Zirpola gradually succumbs to madness, forcing Moor to ensure the death of the prisoners.

There’s a big, wide world in “Deathsport,” and not a lot of time to get used to it. The screenplay tries to cover production limitations through exposition, generating a fracture society where the haves enjoy the comforts of a protected city held together by leadership and entertainment, while the have-nots remain the wasteland, with the Range Guides doing their best to avoid the mutants and all the trouble they cause. Of course, this is a Corman production, so moviemaking refinement isn’t a priority. This leaves the mutants with ping pong ball eyes, crystal swords (known as “whistlers,” playing musical notes as they swing) are plastic, Death Machines are dirt bikes with metal boxes attached, and the utopian city of Helix in the year 3000 resembles a community college campus. Dialogue shares the wonders and pitfalls of the world, but “Deathsport” is mostly about actors running around California parks, doing their best to manufacture some type of mighty clash between primitive nations and the gestapo after them.

The story involves the capture and imprisonment of Oshay, who tries like a madman to pound his way out of his cell, only to find out the whole room is electrified. Such torment is actually repeated throughout the feature, with the rest of the prisoners subjected to shock treatment (warning: there’s extensive use of strobe effects in the picture), while poor Deneer is turned into a sexual toy for Zirpola, made to dance nude inside a room with hanging electric prods, which delights the leader, who’s gradually losing contact with reality but his fetish remains clear. The electro-boogie sequence (actually two of them) offer Corman and Co. a chance to indulge a few exploitation requirements, but the majority of “Deathsport” remains infatuated with violence and speed, focusing on the motorcycles as terrorize the land. Laser weapons are also a common sight, creating several explosions to help beef up the run time and deliver diverting chaos for viewers.

“Deathsport” tries to make something happen with a quest to another city, Tritan, a place Zirpola is targeting in a plan to steal fuel. And there’s the fight to retrieve Deneer’s child from the mutants, who live inside caves, keeping out of the light. There are several characters to follow as well, with Dr. Karl (William Smithers) sent to Deathsport by Zirpola, reunited with his dim-bulb son, Marcus (Will Walker), who’s only purpose in the story is to ask questions about the plot, allowing others to clarify story points, and become a damsel in distress for Oshay to rescue. Also curious is the choice to unleash the titular event midway through the picture, delivering a short demonstration of stunts and explosions before the characters are off to their next challenge. The film is called “Deathsport” and features very little of it, but the helmers try to remain on the fury road with plenty of chase sequences, tracking motorcycles as they zip across the remarkably beautiful wasteland, occasionally using Tie Fighter sound effects from “Star Wars” to sell maximum velocity (Darth Vader’s heavy breathing noise is used for door openings in Helix City).

Deathsport Blu-ray Movie, Video Quality 

The AVC encoded image (1.85:1 aspect ratio) presentation secures a pleasing amount of detail with the low-budget antics of "Deathsport." Exteriors are dimensional, surveying mountainous regions and industrial locations. Costuming is open for study, along with props, including the metallic additions to the motorcycles and the plastic appearance of the "crystal" swords. Facial particulars are ample, examining character wear and tear, and bodily exposure is captured in full. Greenery is agreeable throughout the movie, exploring the natural appeal of the locations. Futuristic additions add some punch, with laser reds and greens memorable. Clothing is varied, and gold helmets pop. Skintones are natural. Delineation reaches as far as the original cinematography allows. Grain is heavier and film-like. Source is in good shape, with some mild speckling and scratches.

Deathsport Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA mix does what it can with the limited aural scope of the feature. Scoring emerges with some power, offering sharp electronic sounds with define position to boost moods and support action scenes. Dialogue exchanges are acceptable, delivering a reasonably clear understanding of performance choices, hitting a few technical constraints along the way. Sound effects are defined adequately, used frequently to sell screaming death machines, laser blasts, and explosions. Some mild hiss is detected.

Deathsport Blu-ray Movie, Special Features and Extras 

• Commentary features co-director Allan Arkush and editor Larry Bock.

• Still Gallery (4:38) collects film stills, publicity shots, and poster art.

• T.V. Spot (:34, HD) offers one commercial for "Deathsport."

• Radio Spot (:36) offers one commercial for the movie.

• And a Theatrical Trailer (1:04, HD) is included.

Deathsport Blu-ray Movie, Overall Score and Recommendation 

"Deathsport" tries to get something going with an ultimate hunt scenario between Moor and Oshay, but that doesn't emerge as anything profound. The picture shows more spunk with select moments of motorcycle insanity and fantasy world commitment, backed by an electronic score from Andrew Stein that's so determined to expand the scope of the movie, it often sounds like it belongs in a silent film. Hospital corners on the production aren't found, but the shagginess of it all is endearing, watching a handful of cast and crew try to construct a futureworld roller coaster ride.