FOAM DRIVE RENEGADES: Puppets Abound

One of the best qualities you find in the cinephile world is a film that doesn’t take itself so seriously. Truly, what better way to do that than with puppets? Drugged up puppets that rob convenience stores. Yes, it is as awesome as you think. This is a review of Foam Drive Renegades directed and co-written by Adam DeViller. It stars Glen Matthews, Matt Chisholm (co-writer), Gordon White and Rhys Bevan-John as the fearsome foursome of nitwits robbing a quick stop.

It’s a dark cold night in a city reminiscence of what most people imagine Detroit to be. Two men, Travis (Matthews) and Kyle (Chisholm), are arguing because their getaway driver is missing in action. Unfortunately, Reggie (Bevan-John), the Muppet, fills in. This isn’t your sesame street or Jim Henson muppet but rather a foul-mouthed, drug addled screw-up. Disappointingly, there are no catchy sing-a-longs teaching me about life. Once their grizzled professional (White) enters the car, this series of unfortunate blunders begins.

Like I said, a good movie doesn’t take itself seriously and Foam Drive Renegades embraces that wholeheartedly. Reggie is the type of puppet who would probably be comfortable in an episode of It’s Always Sunny. You love him for his antics but you wouldn’t let him inside your house. When you first see him he is obviously high, but his bright-colored skin just make you smile regardless. Add to that his cute frog eyes and backward cap. He’s like that special kid you knew in high school, you just smile and wave as your feet slowly move toward the exit.

A is for Atmosphere

The atmosphere here is seedy. You’re surrounded by something dystopian in theme but expressed in a comedic manner. It’s a night-time setting in a small town suburb beset on all sides by fluorescent lighting. This gang of bunglers look like various incarnations of drug dealers from movies set in the 90’s; the atmosphere gets offset by Reggie’s contradictory nature. While the Muppets sing about education or about social issues like aids or broken families, Reggie is the social issue but devoid of the gravitas behind it.

B is for Basics

In regards to the principle traits of film-making, this short does it well. Cinematography in the film is professionally carried out. All the shots capturing the landscape are interesting and sharp. Like I described before, it’s very dystopian. You mostly get that feeling because there is barely anyone on the streets, and it’s barren of life. Many of the opening shots feature pool halls, police sirens, and X-rated video stores.

After the opening, things get kind of bad. The camera is moving too much in several of the scenes taking place in the convenience shop. Anyone with movement sensitivity will most likely be bothered. On the other hand, this style fits the narrative. The shaky camera can be interpretive of the drug addled puppet’s condition.

Besides Reggie, the other star of this short is the editing. It takes the “not taking itself seriously” quality to heart. During the escape scene when Reggie “sacrifices” himself for his friends, the editing changes pace quickly. You see a combination of shots featuring Reggie exploding and guns going off. In this scene, Reggie is doing the Willem Dafoe Platoon death. That is my name for when a character is wriggling and writhing in painful agony whilst being riddled with bullets. Instead of actual bullets though, there are small explosions on the surface of Reggie’s puppet body – it looks excessive and detached from reality. By the time Reggie falls, the camera focuses on Kyle pining for his lost friend as the cops advance. Suddenly, Reggie gets back up and returns fire: it’s quite hilarious.

G is for Gripes

There is one gripe I have trouble with here: the dialogue. In the opening when Kyle and Travis are arguing, their conversation is very banal. They make vague references to why their original wheel-man is absent. Travis also emphasizes that their plan needs to be a four man job without explaining why. Another problem with the dialogue is unnecessary cursing. I understand “real talk” but excessive cursing makes conversations seem forced and the acting hollow.

E is for End

Foam Drive Renegades is worth watching if you have nothing to do. Pure entertainment. There is no overt symbolism or messages. You go in just to have a good time as Reggie messes everything up. Watch it, enjoy it, have a snack. Then watch it again because you like puppets.

C is for a call-to-arms

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(top image source: Foam Drive Renegades – Neon City)