Drift (I) (2000) User Reviews

Down and Out in L.A.

[harry-76 · 5/10 · 8 May 2004]

This little scenario scripted by Quentin Lee plays like a merry-go-round. As lovers love, break up, reunite, have misgivings, rekindle, and entertain more regrets, the viewer begins to wonder just what point Lee is trying to make.

A key may be the tentative nature of the title. It's also set in a town where lots of folk are in a state of flux, not really settling down after making a commitment, and forever looking for the "perfect" partner.

The search, however, is as fickle as the atmosphere of the terrain itself, where the consciousness can be a jumble of mixed emotions. Unanchored attitudes prevail, reacting to the mass of humanity crowded into the region, from mid-state down to the southern border.

It's not an ideal place for anyone who isn't strongly grounded in both their self worth and professional projects. The tragedy of this story is that there are no solid anchors, only driftwood floating and bobbing along uneven tides. One day wanting this, tomorrow that.

Unfortunately, Mr. Lee's script rather meanders as well, and allows itself to even take a "Memento"-type turn midway through--with unprepared for flashbacks that have a strange feel.

There's nothing wrong with the acting, though, and the youthful cast renders subtle and heartfelt performances.

A for Effort

[ekeby · 14 February 2007]

I liked a lot about the movie. It's earnest and well-intentioned. The execution is a bit uneven, and as others have said, some dialog does not ring true.

I was startled when, well into the movie, scenes seemed to repeat. For a moment I wondered if the DVD was stuck. I had no clue previously that I was about to see alternative versions of the storyline. I'm not sure if this was a good thing or a bad thing. Generally, I like to be surprised, but this sudden shift was a little confusing. Again, not entirely a bad thing. I've never read the Dogma manifesto (and this is shot Dogma-style) so I don't know if this movie follows those rules to the letter. However, I think my surprise stemmed from not expecting to see alternate realities depicted realistically (Dogma-ish), if that makes sense.

Overall I think it's worth seeing, if for no other reason than, well, how many gay Dogma movies are there? I think if you approach it as something impressionistic rather than realistic, you'll be more likely to enjoy it.

UGH!

[leliorisen · 3/10 · 1 March 2003]

Do gay-themed movies get any more self-consciously awful than this garbage?

What the filmmakers didn't realize is that all those trite avant garde movie cliches are bearable only if you have characters that one actually cares about. Otherwise, the constant juxtaposition of old scenes with new ones becomes as obnoxious as the characters and equally hard to love.

As I watched with my friends we tried to amuse ourselves by coming up with more fitting film titles (between snores, of course). I think the one that fits best is "Groundhog Drift."

I gave it a 3 but am wondering if that wasn't too high?

Slow to start, but ultimately compelling

[cscjr8 · 7/10 · 8 September 2002]

_Drift_ is an independent movie about a Canadian Asian guy living in L.A. who decides to break up with his boyfriend of 3 years to find his "soul mate." The movie shows 3 possible paths his life could take. I found the first 30 minutes to be reminiscent of film school productions I've seen, with unoriginal dialogue and earnest but amateur performances. I'm glad I stuck with it, though, because the writing and the acting got much better during the 3 different variations of the protagonist's destiny. In the end, the movie rises above its gimmick.

Another dull, self-conscious, angst-filled gay movie.

[jz-10 · 3/10 · 4 February 2005]

Not good. Not the worst thing I've ever seen, either. It's just a dull, amateurish effort, where the writer thought that the most realistic the dialogue, the better. (Not true. Try leaving a tape recorder on for a couple of hours when you're having a heart-to-heart with a friend. Just don't make me listen to the result.) Drift has a couple of fresh points--first, it deals with the pain of breakup, and avoids the horrible cliché of "coming out" stories or overly sunny romantic discovery. It's very realistic, and prefers understatement to emotional shouting.

But that latter point is also its downfall. It is dull. The gambit of three possible endings cannot save it. The main character is a self-pitying neurotic, and as time went on, I lost all interest in him. Save your money.

T......U......R......G......I......D

[Bishonen · 1/10 · 6 August 2002]

(may contain spoilers)

This film's earnestness and sincerity is genuine; this dv project was inspired by the director's breakup of a long-term relationship and the overall tone of the resulting work feels more than a bit confessional. Personal exorcisms on film should be approached with more than a bit of wariness, and "Drift" demonstrates this fact precisely. It's hard to argue with the source of Quentin Lee's work as it's clearly rooted in true events and genuine emotions; the problem is the resulting feature that is an almost total embarrassment. Lee's script is full of trite howlers which would make a first-year film student cringe; in dialogue which is clearly meant to be "revealing", the characters seem to speak in bumper stickers, i.e. "why do we live when living is painful?", functioning as mouthpieces for Lee's trite and facile observations about relationships. It feels raw, but the entirely wrong kind of rawness; the script's college-sophomore dialectic feels more like a long one-sided conversation with someone who drones on and on in an incessant monologue which has long lost both emotional resonance and entertainment value but the performer is convinced that he's discovered something new and meaningful, so every word must be cherished protracted and repeated incessantly. Characterizations are facile and undeveloped; the lead character's preoccupation with serial killers is supposed to indicate some hip and edgy fascination with the dark side, but Lee doesn't go anywhere with this notion after bringing it up. His haphazard throw-it-on-the-wall-and-hope-it-sticks approach to characterization makes the serial killer plot point, as well as most other aspects of the script, come off as shallow and affected. Perhaps some distance and time would have generated a more original, relevant videomaking approach. The three different endings don't feel so much like a revelation of destinies than a tired, gimmicky attempt to liven up a limp and pretentious script, neither fun or touching. At least "Run Lola Run" had some kinetic style to back up its gimmicky narrative tricks; in "Drift", the first section just lies there. Relationship Outcomes #2 and #3 are no more relevant or interesting. The ending, as the central character strolls on the beach and reflects on All He Has Learned, feels even more pointless when you consider that nothing coming before had much insight to begin with. If "Drift" is what we have to look forward to every time Lee has a breakup, let's hope the term "long term relationship" has entered his lexicon.

22 years too late

[mycull-231-122908 · 2/10 · 28 August 2022]

I just watched this 2000 movie in 2022. Maybe I would have enjoyed it more 22 years ago. But honestly, the name of the movie should have been, "Visceral".

If you watched it, you know why.

I only watched it because I really enjoyed "Grimm".

I can't come up with 600 characters of review, it just wasn't good enough to use up that many letters. But it wasn't bad enough to use that many characters to put it down either.

.......................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................

Leaves a Lasting Impression

[TheScholarGypsy · 8/10 · 16 May 2011]

While yet a young man still gaining experience through his own relationships, Quentin Lee has managed to produce a drama that explores the many subtleties and conflicting possibilities of relationships with the insight of someone twice his age. As an older gay male in a long-term committed relationship, I particularly appreciated Lee's mature take on the interplay between every young gay man's deep desire for a "perfect" relationship and the (maturer) realization that (perhaps) perfection lies in working on one's existing relationship. Yet--another sign of the film's maturity--this conclusion is not dictated, but merely suggested as one of several possible outcomes. As others have noted, the film is slow at first to engage the viewer, but once it does it will leave a lasting impression.

I 'Drifted' To Sleep

[myronlearn · 1/10 · 23 July 2023]

There are so many things wrong with this film, I hardly know where to begin. The writing, for starters, is incredibly amateurish. Things take too long to connect. The main characters, Cali bozos, originally from Canada, have so little in common, other than their Canadian roots and love for horror films. The older one had been in a relationship with a somewhat older man who he leaves for the younger, who is a complete and total Bozo. They fit right in to the LA lifestyle because 'it doesn't take any kind of commitment'. 'Drift' is an appropriate name for this piece of Cali garbage because it drifts along aimlessly and ultimately fades into oblivion as far as holding the audience's interest is concerned.

An enjoyable film

[Esprix · 7 June 2002]

Just rented the DVD with friends and found it to be a thoughtful, insightful, delightful, and touching film.

Sometimes trite or cliche, perhaps, but Ryan (R. T. Lee) could very well be the current "gay everyman" - happy, but not happy; settled, but unsettled; content, but incontent. (OK, the whole "death is romantic" sub-theme was just a little creepy, but its' purpose was to help you realize that it really *was* hard for Joel to understand Ryan, and that possibly only Leo could; I still would have gone with something a little less "visceral," to use the movie's favorite - and overused - adjective.) And the "what if" scenario of three different possibilities was a great way to flesh out what we all wish we could do - see the reaction to our actions and figure out if it's what we really want or not.

Some wonderful acting in this film - Lee is certainly comfortable in his role (although sometimes I felt the dialogue was a little rushed); Greyson Dayne as his boyfriend, Joel, also had some great scenes (particularly when Leo tries to bed him); Jonathan Roessler seemed a natural as the geeky Leo, and had a very natural flow of dialogue; and big kudos to Kudos to T. Jerram Young as Dane for the *great* pick-up scene in the bar - we all laughed out loud!

I think the reason this film will stay with me is because I did see a lot of myself in Ryan - searching to be understood, leaving a relationship because of it, not really knowing what will make him happy (until, perhaps - at least in one ending - it's too late). I plan on buying the DVD and adding it to my movie library.

bad movie

[amwarren · 1/10 · 17 June 2002]

I found Drift to be a highly unsatisfying and poorly put-together movie. I did not enjoy Drift at all. I thought that the movie was poorly written, acted and directed. I also am not a fan of the use of Digital Video to tell this story. Since D.V. is such an intimate medium, better actors and a better script are needed to make this movie successful. I appreciate anyone who has the courage and creativity to make a feature film. I applaud your effort, I just don't agree with the praise this movie has received.

Sexy and engrossing and realistic

[alanjj · 10/10 · 2 June 2003]

I got this DVD out of the New York Public Library, having never heard of it. What a great surprise! Unlike any other gay film I've seen, it's about the breakup of a relationship, and the tentative start of a new one. It provides, if I counted correctly, three different versions of what could happen after the lead, Ryan, decides that his partner of 3 years, Joel, does not understand him. The decision is triggered, and the need for decision crystalized, by Joel & Ryan meeting Leo, a young and naive kid looking for his first lover.

Ryan wants someone who can make him whole, who will know and understand him. He is full of romantic notions based on his readings of Plato and Wordsworth. He feels that something is wrong with his relationship with Joel, but he can't figure out what. In one of the versions of the story, he hooks up with Leo and the love of Leo seems to do the trick. However, in other versions, Leo is just a distraction. Ultimately, it seems, Ryan must feel complete on his own.

What's wonderful about the movie is the intimacy of the acting, realistic gay men (not macho, a little bit fem, but endearingly so). Ryan is portrayed by a handsome Asian man, but nothing is said about his Asian-ness in the course of the film. However, it seems an appropriate nationality for one who is seeking enlightenment, who feels out of place in society. His sex scenes are hot without being explicit.

Joel is a bit obtuse, and doesn't quite understand what his lover wants, but loves Ryan. He's cute but not too cute--an accessible, good-looking guy. You can see why Ryan has trouble leaving him.

The third characater, Leo, reminds me of the type that I can fall for so easily. Absolutely naive, full of ideas and theories and wonder, boyishly adorable, not a muscle on his body or a hair on his chest. He's got slight acne, making the effect even realer. He's great.

A couple of best friends of Ryan (one male straight, one female straight) round out the cast.

This is a wonderful film to start a dialog about your own relationship. It's a wonderful work of self-reflective cinema by an insightful writer and director.

I liked this low-budget film

[rsmolin · 11 November 2002]

The dialog is fresh, original, and on a much higher level than most commercial and indie films. Sure, the cinematography is pretty lame, especially on extreme facial close-ups. But the story surprises--Ryan has many illusions and many alternative stories that he lives, and we're not quite certain what's real. This Canadian import survives because of its superior screenplay, as well as some good acting performances. I gave it an 8/10.

Highly Underrated

[tobiasr32 · 10/10 · 26 April 2006]

What an interesting little film. Finally we have a gay film that doesn't revolve around coming out, AIDS, or circuit parties. This is a film about real people with real problems that everybody can relate to -- gay or straight. The film has a real documentary type feel which adds to the realism. The cast is super and totally naturalistic. It's such a relief to see actors in a gay film that look like real, attractive people instead of steroid-Weho-circuit-boys. The film is all the better for it. Sure the dialogue is a bit stilted at times, but kudos to the writer/director for trying something a little different here -- and actually hitting the nail on the head in the process.

Thoughtful and touching

[johnxmackay · 9/10 · 26 December 2001]

A thoughtful and touching film, DRIFT tells a simple break-up story with a narrative twist midway about a young gay man, a screenwriter in Los Angeles, embarking on three different scenarios of a love triangle and romantic entanglements.

I attended the film's world premiere at the San Francisco Gay Film Festival without a great deal of expectation (as you know... you get quite a mix of films there... a couple of exceptional ones and others are just very so-so), and I was pleasantly surprised. I was moved walking out of the theater and the film stayed with me for several days.

Mr. Lee, whose other works I haven't seen, seemed pretty young on stage at the Q&A after the screening. As a Gen-XYer, Lee has produced a surprisingly mature work about relationships. He said that the work was personal. And I believe that the film being personal really added to the emotional impact of the piece.

There aren't a lot of gay films about relationships, and this is certainly a well-made one. I highly recommend you taking a look at DRIFT, although there are some parts which could be considered slow and over-literary/pretentious to some audience. As icing on the cake, there are also some hot and sexy scenes.

3 possible paths

[cekadah · 8/10 · 17 April 2019]

Writer/Director Quentin Lee offers us a simple story of a screen writers imagination contemplation 3 possibles story scenario's.

Everything we see is in his imagination. 3 possible love scenario's - Ryan, Joel, Leo with Ryan as the main character. And a straight best friend with a girl friend.

None of this is real because as seen at movies end Ryan is alone with his own thoughts.

Nicely acted and thoughtfully written.

Full of angst and viscera

[wille66 · 2 January 2003]

Maybe it's because I don't appreciate the joy that drama queens bring to life. Maybe it's because I don't appreciate the angst of living in the life today. Who in the real, work-a-day world speaks like this? If I met such an emotional train-wreck as the lead character, I would sprint at high speed in the other direction. It seemed every time Ryan opened his mouth out spilled a Greek tragedy punctuated by his belabored, self absorbed, oh-woe-is-me breathing. The acting was good, the story line was mediocre. I found myself looking at my watch and checking the box the video came in to see how much longer the pain was to continue. I would have been the guy in the back row of the theater groaning every time one of these poor widdle boys dug himself into a hole and then waxed poetic.

I have this visceral feeling of...oh sorry, it's just indigestion.

One step forward; two steps back for "Drift"

[steveabramson · 1 June 2002]

I picked up the DVD copy of "Drift" yesterday not knowing a thing about this latest entry into the gay genre. As a gay man, I constantly get frustrated by how homosexuals are not always presented as normal, but rather promiscuous and uncaring.

Fortunately there have been some amazing exceptions to this rule lately - most notably "Big Eden" and "The Broken Hearts Club". "Drift" has now created a NEW sub-genre for gay films; I'm just not sure what that would be.

Ryan (R.T. Lee) is a Canadian-Asian living in L.A. with his boyfriend of three years Joel (Greyson Payne). Ryan is a screenwriter who loves the horror genre. At a party the two meet the young virginal Leo (Jonathon Roessler) who is also a horror screenwriter. The two have this connection which would make them instant friends, and on the couples' third-year anniversary, Ryan leaves Joel.

This is where "Drift" lives up to it's title and ends up duplicating much better independent films of the previous decade. That break-up becomes a starting point (it occurs about 20 minutes into the film) - and each of the next three twenty-minute segments starts over with that same scene and progresses quite differently (very reminiscent of the movie "Go" or "Sliding Doors").

Each subsequent sequence has different relationship results utilizing the same characters. Worst, however, is with each scene, the characters (specifically Ryan) becomes more intolerable and causes one's own brain to start "drifting" towards anything else in the room.

NOTE: Potential spoiler below... Please do NOT read if you don't want to know how this film ends...

Ryan spews out lines like "A lot of it's in my head" and "turns out to be my own illusion". Had these lines been uttered a lot sooner, this film could have played out like an enjoyable version of "Pulp Fiction" (where the characters chat and overanalyze); but instead sends gay cinema back two steps - not for it's lack of trying, but rather for it's lack of sympathy towards the gay characters... ... especially since they keep talking about how "romantic" serial killers and suicide is. NOT the type of stereotype I feel is necessary in this day and age!

Gayshoman

[JMC4711 · 20 August 2004]

What starts out as a fairly straightforward tale of the end of a relationship gets, for no apparent reason, complicated about an hour in by repeated scenes from earlier in the film with twists and variations. First minor changes in wording, then wholesale changes in content, scene construction and even characters. I was reminded of the home video release of "Clue," which separated the three theatrical endings with a title card saying something like "That's one way it could have gone, but what about this?" Except the alternate endings and scenes for "Clue" were entertaining and these changes weren't. The twists and turns were attempts to enliven an otherwise pedestrian faux-"quirky" script (oooh, obsessing about serial killers, how avant-garde!) but it didn't work. Proving that gay indie filmmakers can screw up relationship stories just as badly as straight ones. If you like surreal twists, leave this one on the shelf and rent "The Hanging Garden" instead.

"Drift" would, if it could.

[GlennCT · 14 January 2003]

So here's a nice, little indie film made on a shoestring budget with no monstrous, gaping flaws. That alone sets it above most other nice, little indie films made on a shoestring budget. Ironically, though, what "Drift" seems to lack the most is a sense of bite... one of the things that the tortured intellectuals of the film note about their lives. The film is basically a more complex, less commercialized take on the Gwynneth Paltrow vehicle, "Sliding Doors." In this incarnation, gay Ryan has gotten the 3-year itch now that his relationship with lover, Joel, has gotten comfortable. He meets eager young writer-wannabe Leo, and begins to question his "marriage". This is all justified nicely as we see the artistic, passionate Ryan trying, but failing, to connect with Joel on a more enlightened plane. This is when "Drift" shows us three possibilities of where Ryan's life may take him: off with Leo, back to Joel, and none of the above. While the film never lost my interest, it is, at its core, a talkfest. (And if you're the type of person who finds the angst of day-to-day living to be dull, then you are certainly going to hate this film.) Yes, it's a heckuva lot deeper emotionally than "Sliding Doors" will ever be, but it's also less fun and far less charismatic. And I found myself waiting for some sort of big, dramatic confrontation that never really showed up. Alas, quiet and thoughtful is more what the film aspires to be... and really, there's nothing wrong with that. It just won't make your heart race. One final positive: gay men and their sexual relations are handled both realistically AND erotically. The film manages to be neither disinfected of sex nor a pointless bump-and-grindathon like, say, most of the second season of "Queer as Folk."

Go with the drift

[simoneastman · 7 August 2022]

This small thoughtful low budget fiim, is awkward in so many ways. A young Asian writer living in Los Angeles leaves his boyfriend of three years after meeting Leo, another at a literary party. The connection he feels is based on their mutual love of horror films and romantic poetry and leads to a sexual attraction and affair. Or does it? As Ryan drifts between one lover and another finding solace in his straight best friend Matt and best girlfriend Carrie he begins imagining different versions of his stories. Through flash backs and time drifts he contemplates writing, horror films, relationships and yes the meaning of life. And despite its awkwardness, clumsy dialogue, low grade film and unventilated acting this is a film of ideas and challenges a film that is both touching and real. A film that in its own way matters.