All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
There Are No Clean Getaways
A mysterious Hollywood stuntman who moonlights as a getaway driver seems to be trying to escape his shady past as he falls for his neighbor - whose husband is in prison and who's looking after her child alone. Meanwhile, his garage mechanic boss is trying to set up a race team using gangland money, which implicates our driver as he is to be used as the race team's main driver. Our hero gets more than he bargained for when he meets the man who is married to the woman he loves.
DRIVER leaves his apartment to the noise of Desire's "Under Your Spell", which has been nonsensically playing at Standard and Irene's party next door to the zombied joy of their guests. DRIVER looks to their door, to see if perhaps the staff at Pitchfork had robbed the place and left their iTunes playlist behind.
We pause for 4 seconds, as IRENE must calibrate her emptiest gaze in an attempt to convey longing, and match DRIVER's own highway speed emptiness disguised as longing.
We pause for 5 more seconds, IRENE has clearly sensed a staring contest has begun. DRIVER puts on his best Creepface to gain an advantage.
IRENE: Sorry about the noise
An Open Letter to Ryan Gosling,
So, first off, I'd just like to say that I really enjoyed your performance in this film. Had a real satisfying 'postmodern man with no name' kinda vibe to it. Nice one. Not so much with the Gangster Squad thing. I guess that was probably one of those projects that looked better on paper, huh? Hey, you win some, you lose some. I haven't seen The Place Beyond The Pines yet, but I'm pretty sure I'll like that one, too. You sure have come a long way since that bizarre tv show about the highschool on a cruise ship. Never really got into that one, but a jobs a job, right?
Before you ask, this is not my first Refn movie. In that way, I can know that:
- He still likes to dress his crooks with light grey pants and have some of them bald, like if they were still living in Denmark.
- He still uses an awesome techno soundtrack (with some pop touches that I can forgive) to open his films and to close them. The underground nudist dive bars / seedy joints cannot be omitted, of course.
- He has perfected his visual style all the way from Pusher (1996) until Bronson (2008), including the immaculate camera placement and the golden lightning he uses for illuminating the darkest corners. The camera is a silent stalker, intimidating and…
Breathtaking cinematography, and a stimulating soundtrack, work together to make Nicholas Winding Refn's Drive one of the most seductive pieces of cinema in recent years. Its polished neo-noir style is intoxicating, taking a lustrous Los Angeles skyline at night as a backdrop to its story of crime and revenge. Often criticized for its overuse of the pause, it is the film’s confident handling of tension and catharsis that makes it a silently powerful thriller.
Ryan Gosling is our hero without a name, the protagonist of a modern day fairytale, and on paper his story is simple. A mechanic turned stunt man and getaway driver, he befriends his neighbour Irene (Carey Mulligan), and through helping her husband ends up inadvertently involved…
"I used to produce movies. In the 80s. Kind of like action films. Sexy stuff. One critic called them European." - Bernie Rose
Amongst the many joyous viewings of Drive that I've had over the past two years, I've never noticed how the cinematography makes it look like it's straight from a graphic novel. Every shot is glossed over with a vivid streak of emphasised colour that makes each of the characters look even more beautiful or even more ugly than they normally would. The pulpy nature of the plot definitely lends itself to this comic-book coolness, and evokes all of the superhero stories you ever loved. After all, as the tagline reads, 'Some heroes are real'.
I cannot imagine…
The tech writer John Gruber is fond of a Kubrick quote about the truth of a thing being in the feel of it rather than the think of it, a phrase that for me perfectly explains the appeal of Nicolas Winding Refn’s noirish adaptation of the James Sallis novel. Right from the first hotel room scene, through a near wordless 15-minute opening stanza, the foreboding atmosphere of an after-hours, back-streets Los Angeles takes hold. The ambient, minimal score by Cliff Martinez blends with deftly selected French electro-pop to deliver a moody, European sensibility that extends through the production design, colour palette and camera work.
Flashes of sharp violence punctuate the film but are short-lived, like those in the fairy tales…
I'm left with a strange feeling that I can't describe. Remarkable and outstanding film.
Drive has me under its spell, and I can't escape...Words, sentences, paragraphs or even entire novels could not explain the brilliance that is this film. Never has a film before captivated me as much as this masterpiece. The shots, the soundtrack, the mood and the orgasmic cinematography that this film grasps ever so tightly has never been matched by any film before it. I believe Drive to be the greatest film ever created. And I will take that to my grave.
Produção, fotografia, direção de arte, atuação e quase tudo impecável. Porém o roteiro peca por alguns furos e motivações rasas.
The opening sequence of Drive is absolutely stunning. The beautifully stylish cinematography, the very cool soundtrack, Ryan Gosling’s subtly as the Driver and Wending’s perfect direction all come together wonderfully. As soon as tension built up due to the overhead shots of nocturnal Los Angeles, the flawless pacing and the Chromatics “Tick of the Clock”; Drive put a dumb smile on my face and guaranteed me I was in for a spellbinding experience.
Drive is modern cinema done right. It is a tremendously stylish film, but features an interesting plot which is beautifully executed. So Drive succeeds to both dazzle cinephiles with its flawless aesthetics and deliver a rich, well-pieced together story of crime and corruption in Los Angeles.
This review reportedly contains spoilers. I can handle the truth.
What an interesting combination of genres! Part art house, part noir, part mob film and part action film, Drive under the direction of Nicholas Refn, for the most part manages to mesh these diverse elements into something workable, and notable, if not awesome.
Much of what works here is do to some stellar acting from the peripheral characters. Albert Brooks and Ron Perlman are terrific as LA heavies, while Bryan Cranston totally becomes the down on his luck, loser character with big ideas.
At the core is Ryan Gosling as The Driver, a stoic seemingly uninvolved soul who works part-time as a stunt driver, full time as an auto mechanic in Cranston’s garage, and on the side, a driver for…
Before I begin I must be forthright with the caveat that I watched this on a cable TV network and I think they sanitized the film somewhat. Although more blood, nudity, or cursing really wouldn't affect my review, I thought you should know I didn't watch the movie as the director intended. That being said, this is a tale of two reviews. Let's start with the one that will sound really positive. When you look at the cinematography, the shot construction, and every little thing that went into the visual look of this movie it was flawless. The car chases were intense and perfectly presented, to the point where I knew exactly what was going on at every moment without…
"Hey, you want a toothpick?"
Drive is a stunning piece of cinema magic. A gritty neo-noir that consistently looks as if it was ripped right out of the '80's, it excels on virtually every level imaginable. It's immaculately directed, with gorgeous cinematography and a fucking amazing electro-pop soundtrack that won't leave your head for weeks. Ryan Gosling is the king of cool. Carey Mulligan is gorgeous and imminently likable. Albert Brooks is cold and calculating. The marriage of character, violence, and style all coalesce into something truly extraordinary. Nicolas Winding Refn's Drive is one of my favorite movies of all fuckin' time, and only gets better with each subsequent viewing.
It is a bonafide...wait for it...masterpiece.
Für mich ein absoluter Überraschungshit, vom dem ich zuvor nichts wusste und ihn bloß stets auf irgendwelchen Top-Listen erblickt hatte. Möchte man es böse herunterbrechen, würde man den Film wohl als Rache-Flic bezeichnen, in dem man eine völlig neue brutale und höchst bedrohliche Seite von Ryan Gosling kennenlernt, der in diesem Streifen ein namenloser Schatten bleibt.
Es ist jedoch die Art und Weise, wie der Film aufgezogen wird, die ihn in einem solch besonderen Scheinwerferlicht stehen lässt - in fast jeder der 100 Minuten Spielzeit ist eine unterschwellige Spannung zu spüren, die durch relativ simple Mittel, wie eine intelligente Fokussetzung auf bestimmte Handlungen, Charaktere und einem großartigen Sound-Editing hervorgerufen wird! Es ist ein Lauern, ein Brodeln, ein ansteigender Puls, der…
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…