Plot: What’s it about?
Deadline Auto Theft is not an original film, at least not in the usual sense. Then again, it is not a remake in the usual sense either. No, Deadline Auto Theft is a movie made up of a patchwork scheme, in which scenes from previous movies and all new footage were seamed together to create a new product. This means some of the best crashes from Gone in 60 Seconds and The Junkman can be seen in Deadline Auto Theft. Kind of like the film Shogun Assassin, which combines the first two Lone Wolf and Cub films into one streamlined movie. Both original films had a lot to offer, but combined, the action is amped up to a higher degree. The storyline suffers a lot however, which begins the bad side of such a move. And of course, if you’ve seen H.B. Halicki’s original Gone in 60 Seconds and The Junkman, then a lot of what you’ll see here is rehashed. So while the crashes and stunts are well crafted and fun to watch, there is not the same kind of wonderment, since we have seen it all before. Halicki plays Pace, a car thief with a list of forty targets to boost, but he winds up taking one he shouldn’t have. He steals a car that belongs to the police captain’s daughter, which turns the chase into a personal matter. Can Pace manage to keep one step ahead of the law, all while boosting all the needed cars?
Although the remake was a dismal failure, H.B. Halicki’s original Gone in 60 Seconds was an awesome motion picture. Halicki shot it outside of the normal movie system, with his own funds and served as director and star. Even with limited experience in the movies, his vision was a remarkable one, with endless memorable moments. Deadline Auto Theft is the third film by Halicki and follows the usual formula, which is great news. Halicki’s films have passable storylines and rather poor acting, but the main draw is the all out motor mayhem. Deadline Auto Theft continues that trend and supplies so much madness and crashtastic action, you won’t even think about the plot holes or amateur performances. Halicki knew how to create some dynamic chase scenes, loading them with spectacular crashes and stunts. And he used some fine automobiles in his films, including some made especially for his productions. This movie isn’t sparse with the car sequences either, as Halicki offers a massive number of vehicles to be demolished. He died on the set of Gone in 60 Seconds 2, which promised to be his most elaborate project to date. Over four hundred cars were brought in to be sacrificed, but the film was never completed. In this special release, you can watch the finished footage from Gone in 60 Seconds 2, as well as Deadline Auto Theft, a movie jam packed with explosive moments. So if you love good car chases and crashes, and who doesn’t, then don’t miss this dynamic double feature.
Video: How does it look?
Deadline Auto Theft is presented in anamorphic widescreen, while Gone in 60 Seconds 2 is presented in full frame. The latter has a more solid visual presence, but Deadline Auto Theft doesn’t look too bad itself. These movies were made in short shoots on low budgets over fifteen years ago, so we have to be a little understanding, of course. The prints have some nicks and other wear signs, but not as much as I expected. You’ll be able to see some wear & tear evident, but all things considered, this is some solid work. I found colors to be smooth and bright, while contrast is usually well balanced also. There is some softness at times, but given the age and limitations of the material, I can’t complain too much.
Audio: How does it sound?
As with the other Halicki releases, this one sports brand new remixes, with both Dolby Digital 5.1 and DTS surround options. I am pleased to have these extensive remixes, but the material is unable to take full advantage. The crashes provide more kick than expected, but can’t compete with more recent pictures. But when compared to previous home video editions, the audio here is a million times better, so fans should appreciate the extra work. The surrounds don’t come to life all the time, but often enough to supply some good atmosphere. The music sounds great too, while dialogue is clean and always easy to understand. You’ll note some limitations because of the productions involved, but all in all, these soundtracks are quite good. You can also choose a 2.0 surround option, if that better suits your needs.
Supplements: What are the extras?
I would consider the completed footage from Gone in 60 Seconds 2 a supplement, but it is given feature status, so I will simply list the more traditional extras. Both films have an introduction from Denice Halicki, in which she talks about the movies and the man behind them, so don’t miss these intros. You can also watch a special forty-five minute documentary on Halicki, as well as trailers for all of his motion pictures.
