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…
I took Howard for his birthday to watch Refn's masterpiece at the Skin-a-Mark. I love this film. Ryan rules. Carrie is pretty. The film is gorgeous from the directing to the music. Two horns up.
The enlightening areas of Drive are illuminated as we realize everything seen in the frame is placed for a purpose, yet that purpose is abstract, flexible. The mysteriousness of Ryan Gosling's character allows the audience to form their own stance on the validity of his ethics, which is very much in flux. The abstract nature is reinforced by the formalist style of Nicolas Winding Refn and an inclusion of many motifs and symbols, all to be more and more interpreted by the audience in subjective ways.
Ryan Gosling's character is spiritually withheld, trapped, while Oscar Isaac's is literally trapped. In fact, when he is released from prison, he is all the more trapped, as he owes obscene amounts of money…
"My hands are dirty"
"So are mine"
On a technical level, this film works very well. Refn's use of low angle shots make use of many leading lines and excellent framing to create beautiful shots.
His color scheme also matches each character and scene. For example, in the strip club, when we truly realize how much violence Gosling is capable of committing for Irene and her child, the colors surrounding Gosling are bright red, as opposed to the cool blue that usually surrounds him.
He also uses misdirection to heighten thrill and suspense throughout the movie. The best example of this starts with the first heist. By having Gosling's back to us we think his motives are purely for money because we base his character only on the first few scenes. This throws the audience off-guard for the rest of the movie, where his intentions stray from money and to helping people he cares for.
Pé na porta, tapa na cara! Acredito que seja a melhor definição para o estilo de "Drive". Cenas muito bem construídas combinando a trilha sonora de maneira minuciosa tornam o filme elegante, interessante e que prende a atenção ao assitir. E quando se está admirando todo o conjunto na tela, Nicolas Winding Refn lhe joga uma cena VERDADEIRAMENTE violenta. O que, particularmente, está faltando em Hollywood nos últimos anos: sangue, dor, crueldade e franqueza. Outro adereço interessantíssimo do longa é o "look and feel" de anos 80. Muito bem aplicado, sem muito exagero e, de certa forma, sutil. Para quem curte ação franca, violência bem aplicada, trilha sonora de respeito e boas contruções de cenas, "Drive" é uma excelente opção.
Intense and powerfull!
This movie constantly fascinates me on every level. The whole aesthetic - cinematography, music - is unforgettable. What fascinates me is how there really are no likeable characters in this film, yet its so mesmerising. Keeps on giving.
More nameless, quiet lead roles, Hollywood. Please.
An incredible, breathtaking piece of cinema that pulls 70's and 80's cinema and pop culture influences with a stellar cast and brilliant modern western-neo noir story.
The Perfect Film.
WARNING, HIGH CHANCE OF BEING INFECTED WITH SLIGHTLY AUTISTIC BEHAVIOUR.
And please, no matter how badass it looks, don't buy the scorpion jacket to not end up looking like completely retarded idiot.
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!