I try to ignore box office reports. It's not as if they are any indication of quality and I know full well that my tastes don't match up with that of the general public's anyway. I say that not out of reverse snobbery, but as someone who has watched many a great movie fizzle and starve at the box office only to become everybody's BFF later. In any case, the fumes from DRIVE ANGRY's theatrical crash and burn were hard for me to ignore. The movie, by the fine folks who delivered me my pet fave slasher remake MY BLOODY VALENTINE, came in a pathetically lousy ninth place in its opening weekend and somehow shamefully behind a week-old BIG MOMMA'S HOUSE sequel. Ouch!

Because the movie involved cars I thought I might ignore it completely, but it's stunning failure ignited my vulture instincts. I knew I had to see DRIVE ANGRY partially to throw 12 dollars into the director and writer's hat out of respect for making me so happy with VALENTINE and partially because I wanted to perch and stare at it like one of those creepy death predicting hospital cats. Unsurprisingly I totally ended up enjoying the semi-insane movie as director PATRICK LUSSIER and writer TODD FARMER really do have a quality collaborative relationship going on and again, this is coming from somebody who thinks cars have ruined the world and should be replaced by moving sidewalks and jet-packs as soon as possible.

Some may think that a major factor in the movie's financial failure is the fact that audiences are frightened of being trapped in a theater with NICOLAS CAGE but have you seen BAD LIEUTENANT: PORT OF CALL-NEW ORLEANS? It's so damn good. I'm here to point the finger directly at the wishy-washy T.V. ad campaign that neglected to alert the proper audience to what was really going down in this flick. For some reason some goofy person decided to hide the fact that this movie involved a rampaging Satanic cult and that my friends is just dumb. Somebody should be fired immediately and his or her job should be handed to me. My Chauncey Gardiner insights could have saved millions of dollars. Nobody should ever be ashamed of rampaging Satanists and nobody should ever have to rely on my pity to get me to the theater!

Oh poor misunderstood DRIVE ANGRY, its schlocky charms and cheesy tomfoolery are easily misread as genuine hackneyed incompetence but it's clearly winking and nudging the audience about the joys of exploitation at every turn. Folks who suffer from 3-D fatigue should recognize that director LUSSIER uses the effect to enhance the action rather than as an empty garnish. He knows what he's doing and the end result expands the landscape rather than producing that dreaded cramped diorama effect. Writer FARMER has sculpted some wonderfully wacked-out characters too, characters that I'm sad the audience will unlikely have the chance to follow to further adventures. CAGE as Milton dips his rakish vengeance in paternal redemption; AMBER HEARD is a bucket of charm as the kick-ass waitress sick of waiting for life to start and WILLIAM FICHTNER nearly runs away with the entire film as "The Accountant," a scene-swiping soldier from hell. There's some TOM ATKINS too, maybe not enough to fill my gluttonous ATKINS diet, but every little bit helps.

I guess it's too late to rally and stop this Titanic from sinking. Lead balloon or not I'm destined to prefer DRIVE ANGRY to the films whose trailers preceded it which will undoubtedly all be much bigger hit$ even though most of them looked like intolerably boring GYLLENHAAL-infused INCEPTION retreads. I feel that it is my duty to tell you though that if you enjoy super trashy action or seventies era road movies or anything that remotely resembles the great RACE WITH THE DEVIL, you'll probably love this movie and if you want to see it properly with the ingrained 3-D effects intact then you have to do it quickly before it disappears. In the long run, box office success won't mean much as I believe the cream will always rise to the top but I doubt there will be much cream in our future if we don't support the filmmakers we enjoy now. The driving force of DRIVE ANGRY is its original offbeat Devil may-bite-me personality and it's a real shame that that was exactly the selling point left by the side of the road in its advertising campaign's attempt to appeal to a wider audience. Let this be a lesson to everyone; don't hide your rampaging Satanic-cult light under a bushel!

I've been digging for shells in the sands of Netflix Streaming for a while now and I must have passed this title by countless times. I would accuse myself of judging a book by its cover but how can I judge something when it doesn't even register on my radar? The little poster avatar for ISOLATION may as well have been a generic can of corn in a supermarket aisle as far as I was concerned. Furthermore, the word "isolation" does not instill horror in my heart; it makes me think of a nice window seat and a telephone happily off the hook. Thank God for readers like Lee W., there I was about to call it a night recently when I got an email informing me that ISOLATION regardless of poor poster art, bland title or crazy cow-centric synopsis was something I might enjoy. So I stayed up and watched it and Lee W. was absolutely right.

Coincidentally, the next day I read THIS POST over at Fearnet by DREW DAYWALT lamenting the recent scourge of heart in the wrong zip code horror. It got me thinking; what was it about ISOLATION that set it apart from the "why bother?" horror movies skulking about sucking up space? Without revealing too many details, here are a few of the elements that made it work for me:

STORY/PLOT:

There's nothing new under the sun going on here, but that doesn't mean that a horror film can't have its own unique voice. I may have seen some elements of ISOLATION before but I have not seen them handled quite the same way. There is a big difference between being influenced by something and direct thievery, but as a viewer it's the end results I'm most interested in. I say feel free to "borrow" if you use the borrowed goods as a springboard to someplace new. If you're borrowing simply because you have nothing to say then don't say anything at all. Parts of ISOLATION feel lifted from ALIEN or THE THING but they are starting points rather than dead ends and really, can you think of two better films to tip your slimy hat to?

CHARACTERS:

Popular theory is that the more you like a character, the more you care about what happens to them but I'm not sure I need to like a character at all. What I do need is an understanding of their motivations and why they do the things they do. I don't have to want to invite them out to lunch in order to feel something for them but if you want to really involve me in their experiences, they need to come across as more than just meat props. I may not "like" all the characters in ISOLATION (mostly I do, especially its two leads JOHN LYNCH and RUTH NEGGA) but they all made sense to me and I didn't think that any of them existed as mere chess pieces or monster fodder.

LOCATION:

A desolate farm in Ireland may not seem like the go-to location for a horror movie but in ISOLATION, it is milked (no pun intended) for all that it is worth. If you want to send the viewer to the place your film inhabits take the time to show them around. Location may seem incidental but I defy anyone to come up with a classic successful horror film that does not fully take advantage of its whereabouts. Think of HALLOWEEN, by all rights suburbia should be the dullest locale on Earth but in JOHN CARPENTER's hands, the streets of Haddonfield become a shadowy dungeon like labyrinth. ISOLATION makes a point of setting the stage first and the horror that follows is all the better for it.

DIRECTION:

Film is a medium that can be manipulated a zillion ways in order to elicit an emotional response. Why do so many filmmakers seem content simply turning the camera on and blankly recording the action? Editing, lighting and sound should all be equally considered. ISOLATION has several well-orchestrated scenes where the director makes clear choices in an effort to be effective. I'm not saying it always works but simply witnessing the intention sends me half way to where I need to go. In other words, there is significance to what you are shown in this movie and how you are shown it and I never felt that I was being subjected to random filler.

I'm not calling ISOLATION the second coming but it deserves some recognition for at least trying to be a good horror movie rather than simply a pandering waste of space vanity badge for its creator. Whether it works or not for you, ISOLATION at least respects you enough to attempt to deliver actual fear instead of trying to impress you with empty cred-casting and a bushel of D-cups. I found myself completely submerged in the action and wishing I felt that way more often with other horror films.

IN CLOSE:

So yes, allow me to offer you the same courtesy that Lee W. offered me by recommending ISOLATION as a highly worthwhile watch that will probably surprise you. I've made an effort not to give too much away or to praise it to a degree that it can't live up to. If you end up enjoying it as much as myself and Lee W. did then for Pete's sake tell as many people as you can about it. There's a part of me that just gets mad that a movie like this can get lost in the shuffle while most horror sites are reporting the most minuscule tidbits of non information about already over hyped films on a daily basis. If you end up NOT digging ISOLATION that's fine too, just promise me that when and if you do see something that impresses you that you make sure others know! I can't stand that I almost missed this movie! Lee W., I owe ya' one!