Read Negative User Reviews for Drive Angry 3D

2

ThegodfathersonJun 16, 2013

For reasons best known to him and his accountant, Nic Cage has come to specialize in a strange brand of self conscious trash cinema that's somewhere between gutter exploitation and camp glory. If David Lynch is directing him (in Wild atFor reasons best known to him and his accountant, Nic Cage has come to specialize in a strange brand of self conscious trash cinema that's somewhere between gutter exploitation and camp glory. If David Lynch is directing him (in Wild at Heart) or Werner Herzog (in Bad Lieutenant) then the results can be extraordinary. But most of his flicks fall well short of the mark. For twenty or thirty minutes it looks like Drive Angry might be genuine pulp glory, a riotously entertaining redneck rumpus. But it falls apart. If you’ll pardon my French, (and if you won’t, then you better avoid this flick) cowriter-director Patrick Lussier (My Bloody Valentine) has got the balls, but that’s about all he has. Now, balls will get you through the door, and Drive Angry announces itself with some considerable verve: a foul-mouthed monologue by one of Satan’s minions a character called “The Accountant”, played with consummate panache by William Fichtner; a high speed car-chase through some burg identified as “Laughter, Colorado”; and a spectacularly gory, Mad Max style set-to, in which Cage’s blonde-haired “John Milton” blows away four or five bad-asses, but only after establishing the whereabouts of his baby granddaughter, who we soon learn is to be a human sacrifice performed by a satanic cult leader played by Billy Burke (Kristen’s dad in Twilight). By now more or less the time Cage shoots off someone’s hand and sends it careening into the 3D bespectacled audience’s collective lap we have a strong suspicion that this is going to be the most unapologetic 18-rated movie a major movie star has given us in some time. That suspicion grows stronger as we’re introduced to Amber Heard’s salty-tongued waitress, Piper, and then her cheating fiancé (played by the movie’s cowriter, Todd Farmer), who she catches in flagrante, as it were. There are limits of course, this being a studio movie from the US of A. Yes, we can see heads skewered with wooden sticks. Yes we can see eyeballs gouged. Yes we can see Milton shoot half a dozen satanic goons at the same time as he’s playing hide the Chihuahua with some freaked out floozy (but not before one of them sticks his backside with a cattle prod). But the filmmakers tastefully draw the line at full frontal nudity below the waste because that would be obscene, I guess, and generate the dreaded NC-17 rating in the US. And that would never do, not even for a loud, proud redneckerama drama like this one. What else can I tell you? If you saw Shoot Em Up, you probably felt a shudder of recognition at the description of that violent sex scene. And that’s a bit of a downer, because hard as it tries to shock, Drive Angry keeps coming off as a rehash of a bunch of other movies: Ghost Rider definitely comes to mind, and Jonah Hex, The Prophecy and Mad Max, a bit of Tarantino and a lot of Robert Rodriguez (but it’s not anywhere near as good as those guys). The thing is, Lussier and Farmer have ripped off some good stuff, but they don’t have much of a clue how to fit it all together. So the movie just judders to a halt between the set pieces, and frankly, most of the set pieces aren’t all that either. The 3D disguises his ineptitude a little, but Lussier is out of his depth when it comes to putting a complicated action sequence together. Like too many of today’s Bay-acolytes, he cuts fast but he cuts sloppy. What works: Fichtner is excellent, a suave emissary providing the larger than life performance the movie badly needs and (surprisingly) doesn’t get from Cage, who seems to be going through the motions this time. Also surprisingly good: Amber Heard, who comes out swinging and keeps on slugging. And I guess the 3D, which seems of a piece with the tackiness of the enterprise, even though it comes with the heavy price of butt-ugly cinematography.
What doesn’t: a story that feels stretched the way those cliffhanger serials used to back in the olden days. And pretty much everything else, though they might say that’s intentional.
Ideally see it at a drive-in after half a dozen cold ones. I know, I know: that’s both impossible and socially irresponsible. But there you have it.… Expand

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3

FDT44Jun 2, 2011

I don't know how much more the big screen can take from an increasingly timeworn, disheveled action star, whose movie roles are as hit-or-miss as his receding hairline; though not all to blame. "Drive Angry" is a bottom-rung action flick thatI don't know how much more the big screen can take from an increasingly timeworn, disheveled action star, whose movie roles are as hit-or-miss as his receding hairline; though not all to blame. "Drive Angry" is a bottom-rung action flick that comes up short--never seizing any sort of connection with its viewers; lacking any sort of directorial control, intactful character progression and substance, shoddy special effects, and overdone, often intolerant lewdness situated amongst the most unbelieving of circumstances. The film is host to a lasting effect of shortcoming; creating a smutty after taste of despondency and a near failure of a movie. The result, a plethora of plot holes and ambiguity camouflaged by shots of pneumatic rears, bouncing breasts, and overall insipidness.… Expand

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2

JonnyFendiMar 30, 2011

Drive me angry, definitely a C-Class movie. Not even a single memorable moment. Milton (Nicolas Cage) is a father who escapes from hell to avenge his daughter death and urges to save the only baby granddaughter, meanwhile the Accountant fromDrive me angry, definitely a C-Class movie. Not even a single memorable moment. Milton (Nicolas Cage) is a father who escapes from hell to avenge his daughter death and urges to save the only baby granddaughter, meanwhile the Accountant from hell is assigned to retrieve Milton. I wish I do not have to review thiz movie, bcoz bad words gonna break loose either. Trapped inside the Cage again, we are tired of your experimental Hot-Shot wannabe since GHOST RIDER (2007). Amber Heard is expected to be the Hot Chick element but on the contrary she has become unsexy and extremely boring. The villain, Billy Burke is expected to be fierce and memorable, but instead of that he delivers emptiness. The only appearance that is a rather sizable is coming from William Fichtner as the Accountant with his charismatic and eccentric character. The story itself is never clear since the first time. The action sequences are amusing, always shaking all the time and not focus. I did not even know what is really going on at that time. Yeah, it is a terrible cinematography. It is coming from the Director who almost every time putting anything that smells clichÃ© and not original into his films, such as: DRACULA 2000 (2000) and the remake MY BLOODY VALENTINE (2009). It is intended to be made as Cult Movie or something different, but eventually it becomes a big blunder. Gimme one good reason I should not shoot you in the face, well I know you are driving,.. But your driving is sucks.

Visit My Blog on JONNY'S MOVEE: http://jonnyfendi.blogspot.com… Expand

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0

nufrequencyMay 23, 2011

Another dull performance by Nicolas Cage + laughable special effects and boring story line = garbage movie ! Save yourself couple of bucks this production is a waste of time !

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2

DarkCriticFeb 25, 2011

Nicholas Cage is a bad-ass with retarded effects. Drive Angry could not be challenge with awful special effects and putting in together with goggling scenes with nothing new for this horrendous crap.

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3

ShiiraMar 6, 2011

This review contains spoilers, click expand to view. Sacha Baron Cohen's "Bruno" was not your typically passive moviegoing experience. The follow-up to the comparatively gentle "Borat: Cultural Learnings of America For Make Benefit Glorious Nation of Kazakhstan" was confrontational art masquerading as a mainstream film. It contained moments of stupefying audacity that were both simultaneously puerile and archly ideological, and without fail, left audience's jaws on the floor due to the no-holds-barred approach the provocative comedian used to finesse his subjects into exposing themselves, their true selves. The worst of the bunch, hands down, the ugliest of the ugly Americans, has got to be the stage mother at the faux casting call interview, who doesn't have the decency to, at the very least, wince or do a double take, after already having failed to get that the joke is on her, when Cohen goes over his character's purported project, a photo shoot featuring a Nazi Germany crematorium scenario, in which her baby is either going to be the SS officer, or the Jew. Not in the same league as the holocaust, but nevertheless, bad in its own right, "Drive Angry 3D" surrounds its very young child around devil worshipers, whose leader, Jonah King(Billy Burke), plans on sacrificing with a ceremonial knife, in the midst of fast cars, fast women, and a whole lot of violence. If memory serves me right, the baby doesn't even have a name; its protector, John Milton(Nicholas Cage), couldn't be bothered with learning the name of his slain daughter's only child's name. It's just as well that the infant go nameless, because if the baby had an identity and been allowed to be more than a prop, the jeopardization of the dead man's granddaughter would have been all the more offensive. By remaining, what is essentially a live-action cartoon, the film's immature trappings desensitizes us to the creative bankruptcy of its exploitative narrative. It doesn't attempt to manipulate our feelings with gratuitous close-ups of the young girl. In fact, the moviegoer never does get a good look at her. She's just a body wrapped in a blanket. It's not the filmmaker's priority to make us care about anything, least of all, a child's welfare. Any semblance of urgent paternalism on John's part to safeguard his blood's blood from Satanic ritual gets neutralized by the film's preoccupation with spectacle, in which the twin pornographies(sex and **** violence) with its prevalence for motivational unilateralism, has a reductionist effect on the protagonist's role since his heroic actions are compromised by digressive acts, impediments to forward momentum that suggest a hidden agenda. This aesthetic of cross-purposes comes to the fore in the diner/motel sequence where sex and violence join forces in an emphatic shoot-'em-up so over-the-top, it suggests that one night stands played an important role in the damned man's decision to escape from hell. In a race against time to hunt down the kidnappers, John Milton finds time to have dangerous sex with a waitress, which belies the time sensitivity of the mission at hand. As a result, "Drive Angry 3D" has no urgency, no suspense, no drive. At Smithfalls, an abandoned Louisiana prison, site of the human sacrifice, John Milton, in his capacity as the hero, kills Jonah with the Godkiller, but not without causing a lot of collateral damage, in which he takes down the cult leader's followers, who should be rehabilitated, not murdered. This happy ending, the recovery of his granddaughter, epitomizes his callous disregard for extraneous people, akin to the incident back at that motel, where the waitress' life, hanging in the balance amidst heavy gunfire, doesn't stand in his way of achieving a(wink, wink, nudge, nudge) "happy ending" of another, euphemistic sort. After the mayhem dies down, John hands the girl over to Piper(Amber Heard), his foul-mouthed partner on this highway to hell, who doesn't seem all that thrilled about being a mother. Right about then would have been a good time for a close-up of the baby in an effort to help transform this human prop into flesh and blood, who is referred to("Your daughter's death will pale to what happens to the baby," said Jonah), but never spoken to. Piper says nothing. Some mother. Just like the one who signed off on "Drive Angry 3D".… Expand