Hurry up and call Tarantino; somebody stole a script he wrote back when he was 13. Drive Angry has all the makings of some Quentin
Tarantino/Robert Rodriguez Grindhouse movie, except that it's a failure instead of a success. It's not an
epic
failure, though, just a regular old woulda-could-shoulda been better fail, feeling like the kind of thing Tarantino wrote as a teenager, a movie with all
the
makings of something better but just not quite fleshed out to the point of respectability or, as cinephiles have come to expect from the video store
clerk-turned Hollywood sensation, greatness. Drive Angry, a hard-R action rampage with sex, boobs, and booze
aplenty thrown in for good measure, has its moments and more or less works as a slice of raw off-the-bone entertainment. It wants to be a
sizzling-hot fresh off-the-grill mouthwatering delight, but Director Patrick Lussier, whose most notable work is the competent but forgettable 3D
Remake/Chiller My Bloody Valentine, winds up only playing copycat with his movie,
taking
elements of superior throwback genre pictures and winding up with Ghost Rider on steroids rather than the second coming of Death Proof.
Don't drive angry.
The recently-deceased Milton (Nicolas Cage, National Treasure) has just burst free from hell and is back on Earth and
ready to kill in the name of avenging his murdered daughter and saving the life of his newborn granddaughter who has been kidnapped and is being
prepared
to be sacrificed under the light of the full moon. Her captors are members of a satanic Louisiana cult led by the despicable Jonah King (Billy Burke)
who believes that the infant's death will usher in a new era of evil terror across the world. While hot on the cult's trail, Milton rescues a young
waitress by
the name of Piper (Amber Heard, The Stepfather) from her abusive boyfriend. As she bears witness to
horrific acts of violence and comes to understand both Milton's quest for justice and his unique ability to withstand physical violence, she slowly but
surely accepts him and comes to his aid in the fight to save the baby. Meanwhile, Milton is tracked by a mysterious agent of hell known only as "The
Accountant" (William Fichtner, Black Hawk Down).
Yes, Drive Angry is a disappointment, but it's the kind of movie that most probably don't count on for anything other than a good time at
the
movies. It delivers on that basic need well enough; genre fans will get a kick out of it, enjoying the fast cars, hot women, gruesome violence, cheap
thrills, and the sleazy tone that all but guarantees no morality or thematic undercurrents, the picture emphasizing fast driving and butt-kicking while
removing most everything else from the equation. Even the plot doesn't really matter; it's not at all interesting, serving instead as a means to get a
skimpily-dressed Amber Heard into the same car as the bulletproof and bleached Nicolas Cage so they may go about their business of steaming up
the
screen with an air of sexy and all the violence and noise that genre fans can handle. The disappointment comes in that it just feels so darn
repetitive. Sure the movie isn't one that was ever going to forever alter the landscape of trashy violent cinema, but between Nicolas Cage turning in
his usual effective but half-dozing performance and the sheer unoriginality of the stunts, the movie just never seems primed to explode beyond the
fireballs that light up the screen every now and then. Throw in some goofy hellish supernatural angle and a weirdo cult and the end result is just a
more
violent, but admittedly somewhat superior, combination of two Nicholas Cage flops, the aforementioned Ghost Rider and the abysmal
so-bad-its-funny The Wicker Man.
Where the film also fails is in its copycatting of a style that's just too difficult to get right without the proper touch. Drive Angry so
desperately wants to be the next hip and cool wonder of cinema, but just try and listen to the opening monologue without either thinking
immediately of Quentin Tarantino or cringing at the failed attempt to replicate the witty-sharp dialogue he's so gifted with the ability to write. That
it evokes Tarantino might be a plus, a sign that it's at least headed in the right direction, but to use a metaphor that relates to the movie, where
Tarantino would have the slick and roaring Charger's pedal-to-the-metal, Drive Angry sputters along like the jalopy from Uncle Buck. Sure both serve the same basic purpose and with the
same general method, but one is a whole lot better, more efficient, and far sexier than the other. Such is the thin line that separates this vapid
wannabe
from other, better
movies. Also on the wrong side of the line is the inclusion of a here-superfluous 3D presentation that only seems to cheapen the experience rather
than enhance it. The saving grace, aside from enjoying a merely passable Action movie experience, is William Fichtner. The veteran character actor
plays his bad guy part with an intoxicating and playful deviousness, the performance accentuating good comedic timing and the actor showcasing a
commanding presence that fits in very well with the film's over-the-top antics. Unfortunately, Nicolas Cage can't match Fichtner's mastery of the
film's tone, the fan-favorite actor plodding through the movie as droopy and uninterested as ever.
Drive Angry is a film that really doesn't "benefit" from a 3D release; the material doesn't necessarily seem to demand it, and outside of good
general depth and a few gimmicky 3D-specific effects -- many of which work along with a few that don't -- the 3D presentation seems more like it's a
part of the film
because it could be, not because it needed to be. Fortunately, the filmmakers chose to shoot natively in 3D rather than convert the 2D image after
the
fact, so if there's a positive to be found it's that the 3D visuals are quite good, if still superfluous. As noted, Drive Angry enjoys fantastic
depth; the image is able to showcase both distant and close-up visuals with equal clarity and realism, whether stretches of road that extend well back
into the depths of the television or just the shape of characters and objects as they appear nearer to the screen. Where most films seem to aim
more for depth than cheap 3D-specific visuals, Drive Angry wrenches in a host of forced 3D content that seems a given considering the
nature of the film. A shotgun extends well out of the screen, a spent casing is ejected into the living room, various exploding debris seems to fly right
out of the screen, and a flipped coin spins round-and-round as it comes out of the screen and falls back in. All of these effects look rather good, but
are never wholly convincing. Like the movie, it often seems as if the special 3D-specific effects are just trying too hard. Viewers will be pleased with
the minimal amount of crosstalk, or "ghosting," evident throughout the movie.
Fortunately, Drive Angry's more traditional attributes excel. Fine detailing is generally fantastic, with the transfer picking up the texture of
every strand of Amber Heard's full-bodied haircut; facial intricacies on every character; seams in clothing; and the smallest nuances as seen on car
paint jobs, paved roadways, and the like. The image is very clean, impeccably crisp, and naturally sharp. It's maybe a little too polished and
shiny at times, but there's no denying that it never misses a beat. Colors are very natural (though maybe just a hair dull in 3D); flesh tones never
veer towards a red or orange push; and black levels are strong, if not a touch damaging to the finest of foreground details in the darkest scenes. The
image appears to be free of any intrusive banding, blocking, edge enhancement, or any other negative atributes. Noise is practically nonexistent,
adding to the excessively polished and clean look the image provides. Drive Angry might not be the sort of film that really benefits from a 3D
presentation -- it seems kind of like a marketing gimmick in this instance -- but there's no denying that Summit's first Blu-ray 3D transfer is at least
very technically competent from the top-down, no surprise given the studio's history of releasing exceptional-looking titles.
Drive Angry's DTS-HD MA 5.1 lossless soundtrack is exactly as one would expect of a movie about fast cars and gruesome violence. It's loud, full
of energy, and it milks every gun blast and revving engine for all they're worth, and then some for good measure. Indeed, this is very standard stuff in
terms of the high-octane, over-the-top sorts of listens. The entire soundstage pounds out one heavy note or effect after another, effectively engulfing
the listener in the mayhem of Drive Angry in most every frame. Music is crisp and spills from every speaker with clarity of the highest order and
with enough juice to push the best sound systems to the limit. Bass is strong, gunshots are potent, and various action-oriented sound effects inundate
the
listening area with unparalleled devastation. Imaging and directional effects are as precisely-tuned as the cars in the movie, dialogue never misses a
beat,
and even a few quieter scenes deliver impressive background ambience that rounds Drive Angry into an exhilaratingly complete listening
experience.
Drive Angry contains no 3D-exclusive extras; all supplements are found on the included 2D-only Blu-ray disc.
Audio Commentary: Writer Todd Farmer and the laryngitis-stricken Writer/Director Patrick Lussier discuss in much detail the picture's
evolution, the making of
particular scenes, the various automobiles used in the film, shooting in 3D, the technical aspects of the shoot in general, Nicholas Cage's performance,
shooting locales, trims for length, the amount of violence in the film, the specifics of the plot, and plenty more. Fans will enjoy some of the
behind-the-scenes insights, but casual viewers can skip without wondering if they're missing anything of great importance.
Deleted Scenes (1080p, 1:36): You Made Me Cheat and Morgan Girl, available with optional filmmaker commentary.
Access: Drive Angry: This interactive Picture-in-Picture feature allows viewers to "track Milton's mayhem, view interviews with the cast
and filmmakers, and enjoy trivia and facts" as the movie plays. Viewers may jump to each instance that an extra appears, and choose which of the
primary pieces to view, all from a small little box situated at the top left-hand corner of the screen, complete with a countdown timer to the next pop-up
extra.
Drive Angry is one of those wishy-washy eh, could have been better, could have been worse movies. It's fine for what it is, but at the
same time it feels terribly unimaginative. The plot isn't worth the paper it's written on, serving only as a means to an end to get the movie from one
action scene to the next. Even with the premise of a baby on the brink of being sacrificed, there's no heart, no emotion, just an admittedly fun but very
choppy ride down the same old Action movie highway, except here Drive Angry attempts to detour down Tarantino Parkway but crashes and
burns instead of capturing that same kind of magic. Summit Entertainment's Blu-ray 3D release of Drive Angry yields a fairly strong 1080p 3D
transfer, an Action movie-typical lossless soundtrack, and an average array of extras. Worth a rental and maybe a buy should fans of these sorts
of movies find it on a good sale.
Summit Entertainment has provided Blu-ray.com with an exclusive clip from the upcoming Blu-ray release of writer/director Patrick Lussier's Drive Angry. In the clip, Lussier discusses the benefits of using 3D cameras and shooting in native 3D, as opposed to post-converting ...
Summit Entertainment has officially announced that on May 31 it will release Drive Angry on Blu-ray, in two editions, 2D and 3D. Thus, this is Summit's first release using the Blu-ray 3D specification. This action movie, starring Nicolas Cage and Amber Heard, was ...
