The Adjustment Bureau | Drive Angry - Prague, Czech Republic

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The next morning, David unexpectedly runs into Elise on a bus; sparks fly, again. But David was never meant to be on that bus: when he arrives at his office, he witnesses men in suits conducting scans on the frozen bodies of his colleagues. Mitchell (The Hurt Locker´s Anthony Mackie) and Richardson (Mad Men´s John Slattery) pull him aside and explain to him the true ways of the world: they monitor and manipulate small actions that lead to large consequences and enforce a pre-ordained fate set by a mysterious, God-like Chairman. They agree to let him live with this knowledge (rather than “reset” him) as long as he never reveals their secrets.

On Milton´s trail is a man who refers to himself as The Accountant (William Fichtner), an agent of the Devil who also serves as a Grim Reaper-like figure (“I´ll be seeing you in three months,” he tells one man, though he doesn´t bat an eye while planting a broken baseball bat through the skull of another). In dealing with this immortal figure, Milton has an ace up his sleeve: the “Godkiller”, a God-killing shotgun with three very special rounds. How did Milton escape Hell with the Godkiller? “I picked it up and walked out,” he tells us. ‘Nuff said.

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Drive Angry is a true grindhouse throwback, even moreso than the Tarantino/Rodriguez double feature, which had some artistic aspirations. This has none. While wallowing in depravity, the film isn´t afraid to lop off limbs and heads and spray blood over the audience in three dimensions, and throw in copious amounts of T&A to boot. The film´s most memorable scene features Milton blowing away baddies in the midst of a coital encounter, shot in loving slo-mo with every spatter of blood and bounce of breast carefully noted.

Drive Angry was shot in 3D; I like how the advertisements emphasize that fact, subtly allaying fears that this is another 3D post-production conversion. In reality, the 3D adds next to nothing; it´s certainly used less effectively here than in Lussier´s previous film, My Bloody Valentine, though maybe the technology just seemed fresher back in 2008. The novelty value worn away, I wonder what future awaits 3D cinema; it´s a sad fact that beyond James Cameron and Avatar, the most imaginative use of the technology was probably by Paul W. S. Anderson in Resident Evil: Afterlife.