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…
The opening scene is epic.
A simple, humble yet beautifully crafted film.
Dado el poco grado de objetividad que puedo tener ante esta película no osaré a realizar ninguna reseña propiamente dicha, sino, solamente hacer un recuento de las cosas que hacen a esta película tan fenomenal.
- La primera escena introduce y nos anticipa lo que va a ser el resto de la película. Excelente pieza.
- El personaje principal, ese héroe anónimo, un individuo lleno de violencia pero solo por el amor que le tiene a Irene.
- La química entre Mulligan y Gosling es mágica.
- Las secuencias de acción.
- La relación entre Benicio y Driver
- La violencia gráfica, cruda y sin piedad.
- Todo el reparto hace un trabajo increíble, desde la monumental actuación de Gosling,…
Well acted, well cast, missing something important. Always watch films that Gosling is in.
The first time I watched it I was dissapointed the second time around I was shocked by how fantastic it is. The little details of every scene and the action the acting and especially the music all top notch.
It's taken a few years to get round to a rewatch of Drive. Nicolas Winding Refn's film is undoubtedly glossy and graced with the star power of Ryan Gosling, but I find it slightly baffling that it was the hit it was. It's a brooding, oblique film with a deceptively sedate pace that fills the screen with the quiet lurking menace of an urban fairy tale.
It obviously shocked Refn, as he responded with the even more enigmatic and hyper-stylised Only God Forgives. Contrary buggers, these arty Danish types.
I read it as Refn's subversion of the classic American movie hero. A quiet loner with a romantic streak, who can be tough and tender in equal measure; Gosling's unnamed 'Driver'…
I've got a lot of nostalgia for this movie as it was the first one I saw in theaters when I moved to Philly this time three years ago. And so it's good to rewatch it again around that anniversary. It holds up as a great piece of craft although it has some diminishing returns. It's still a beautiful film with amazing music and several great performances (Ryan Gosling will never be better), and the violence is gory, fun and works. I clicked with this concept of his drive for violence and his drive for love conflicting, competing, and eventually turning into the same thing, but beyond that and the central romance, the movie was pretty empty. It wears everything…
the elevator scene is one of the best drawing of a character i've ever seen i was like wOW
Drive is a satisfying crime thriller soaked in blood, style and terrific soundtrack.
Is there anything else we want in our movies besides violence, stunning imagery and Ryan Gosling? The answer is no. Nicolas Refn created a masterpiece by combining all these into a fun but compelling motion picture. This movie gives your senses a tingle. It is not only beautiful to look at but listen to as well. The soundtrack of Drive helps it achieve its flashy and electric style. While some may criticize Drive for its lack of dialogue, I think it is what makes this movie. The storytelling is told through more through the camera than the actors themselves. You learn more about Ryan Gosling's character when he's not talking which allows the viewer to come to their own conclusions of Gosling's character. If you haven't seen Drive yet I highly recommend you do. It is an experience every movie lover should have.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- 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…
- 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!