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It is a constant loop of loved ones’ suffering that never goes away. During a vulnerable scene, Milton reveals what hell is all about to his associates. To carry out his revenge on the cult leader who murdered his daughter, he stole the weapon from Satan before sneaking out of hell. From the depths of hell, he brought with him the god-killer, a gun-like weapon that not only kills immortals but banishes them from existence entirely. Milton, portrayed by Nicolas Cage, a member of the Coppola family, is back from the dead to save his granddaughter and avenge his daughter’s death. However, Milton soon reveals that death is not the fear, but rather the suffering that comes after, giving new meaning to the Latin phrase altogether. The meaning, which translates to “God’s Quick Death” or “God’s Violent Death”, serves as a brief description of what happens when shot.
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It flies through the air in slow motion, allowing the audience to read the inscription. During one of the climactic shooting scenes, John Milton ( Nicolas Cage) fires off a bullet from the gun. Or, much as with the tune playing as the end credits roll, close enough for a wannabe to approximate Meat Loaf while failing to capture the distinct voice or operatic kitsch.The bullets in Drive Angry, are inscribed with the Latin phrase “Deus Velox Nex”, which reveals a deeper meaning to the story as a whole.
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But as a 3-D movie with copious amounts of blood, boobs and vehicular mayhem, it’s close enough for rock ’n’ roll. Other examples of this kind of beast are Machete and Punisher: War Zone, cartoon-like productions that are all about unapologetic excess, spattered with boobs, blood and bullets.ĭrive Angry 3-D delivers with all of that, but lacks the maturity (again, for want of a better word) to pull off the giddy nihilism that’s needed to make this kind of film successful. It’s desperately trying to be a player in the neo-grindhouse subgenre (or “dick flick” or “action porn,” whatever you want to call it)-spawned by Quentin Tarantino and cultivated by the likes of Robert Rodriguez-a return to the scratchy, splicey drive-in flicks of the ’70s, polished with blood and CGI mayhem to a 21st-century gloss. It wants to be the next Crank, but lacks the chops needed to pull off 2-D characters the audience can empathize with. The problem with Drive Angry 3-D is that it’s a 3-D movie that plays oddly flat. You can just imagine a couple of 13-year-olds cackling in skewed satisfaction as they wrote that scene. 45 delivering rounds with unnerving accuracy in the other.
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The grumpy grandpa handles a motel room invaded by a pack of cultists while barebacking a waitress without missing a beat-a bottle of Jack Daniels in one hand and a. In his predamnation life, Milton must have been both kicking ass and getting it on in extreme ways. Everyone has a hobby, but most don’t go as far as wanting to plunge a dagger in an infant in order to unleash literal Hell on Earth. Here we have John Milton (Nic Cage in stoic mode) roaring out of the underworld in his pitch-black ’64 Buick Riviera, hellbent (for want of a better word) on retrieving his granddaughter from a pack of Satanists set on sacrifice. It’s easy to imagine that a couple of stoned teenagers of that era might have been inspired by the album cover to write the screenplay for something like Drive Angry 3-D. The cover was a triumph of kinetic kitsch big enough to get airbrushed on the side of more than a few Chevy vans. For a certain generation, the cover of Meat Loaf’s Bat Out of Hell album was an icon of just plain badassery, depicting a barrel-chested barbarian erupting full-throttle out of a grave on his hybrid motorcycle steed, body arched back in thinly veiled orgasm.