All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
Una película con tintes de los 90 hecha en el 2011. Ryan dice menos de 50 palabras en todo el largometraje y es más que suficiente para amarlo a él, al director y la historia. Historia simple pero contada de una forma hermosa, la fotografía, la música, los atuendos, la tensión en las escenas. Increíble, la amás o la odiás.
I loved this movie: the mood, the music, the camera work, etc. It's not for everyone and it demands a re-watch from even its more ardent haters. A real gem.
Ryan Gosling is the ultimate heartthrob as the nameless and soft-spoken, yet genuinely badass driver. The perfect character for the perfect film. With gorgeous, thoughtful cinematography that just takes your breath away, this character driven piece is just a thing of beauty. Visually fantastic and played wonderfully by the lead as well as the supporting cast, it is definitely one of the most recent masterpieces of filmmaking.
Considered turning it off within the first half hour as it was just So. Fucking. Boring. and no amount of pretty pictures could make up for it. It then gets a bit more exciting, but no less dumb.
This review reportedly contains spoilers. I can handle the truth.
That kiss though.
I really felt Ryan Gosling (as Driver) made the movie from his facial expressions to his quirky voice. His energy was spot on, except when he and Irene were thinking how they couldn't be together - their expressions were blank and they felt flat. Their eyes empty when we should feel like they were playing their whole future behind their eyes and knew it was doomed. I loved how they never spoke about his background but you could sense it was major and then it was confirmed at the end when he takes out these mob bosses.
If I was Albert Brooks character, I would have killed Ron Perlman myself and blamed Driver. I loved when he talked about the…
So brutally beautiful. So beautifully brutal.
Cómo se vino abajo al final. No se si es mi percepción, pero la peli venía muuy bien. No se si es problema del libro o del guión, pero me pareció que terminó en otro nivel del que empezó.
Aún así, dos cosas se mantuvieron durante toda la película: la buena dirección y la magnífica fotografía. Fuera de joda, se puede hacer un album de fotos con capturas de esta película. Pero si, me decepcionó el final.
Entrancing thing of beauty that slowly dissolves into ultra-violence yet never loses it atmosphere.
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!