All the films from all the editions, including those subsequently removed, presently totalling 1177. 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…
• Drive is Nicolas Winding Refn’s magnum opus where arthouse meets action in the most thrilling, stylish and brutal way
• Albert Brooks is as chilling as he’s ever been as crime boss Bernie Rose (he even shaved his eyebrows for this damn role!)
• There is some of the old ultraviolence as Alex and his droogs would say, which is presented in a truly raw and realistic manner
• The music is another one of the highlights, combining electronic synth tracks that will make you go right back to the 80s with a memorable score composed by Cliff Martinez
• Movies that focus more on the anti-hero are usually the ones I find the most fascinating to watch…
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…
One of the films that got me into cinema.
I was never quite sure where this was heading and I always appreciate that in a movie. I like seeing Albert Brooks playing a baddie.
...that's how I like it...
It is narratively a redditor's wet dream, with the driver as an avatar for that awkward/shy individual to live vicariously through. Wish fulfillment for the ideal self. Maybe I'm being harsh...But what I'm saying, really, is that I don't really like the driver's persona--and it runs too thick throughout the film. But it's too aesthetically pleasing to scoff at. It's so incredibly engaging for that alone. This is some great framing. And of course, the tunes. If there is any credence to all the high praise it's gotten, it definitely is deserved for its technical brilliance. However, it is still no Only God Forgives. That is Refn at his peak.
Also, what's up with the Blanche masks in the trailer?
Fantastic. Shots were absolutely gorgeous, phenomenal soundtrack. No real issues with the story. Great performances.
An utterly stylish blend of understated expression and overt violence, Drive is mesmerising from its first frame until its last.
Based on a novel by James Sallis that was initially considered too difficult to film by most everyone who came near it, screenwriter Hossein Amini and director Nicholas Winding Refn combined to create something truly memorable. A dark, pulsating meditation of a film punctuated by moments of extreme violence, Drive is most certainly not for everyone. But it is those things many cry foul on - the lingering looks, The Driver's lack of dialogue, the overt violence which slaps the viewer in the face - which totally worked for me.
Gosling sells The Driver perfectly - a man capable of…
Great neo noir, awesome direction, stylish and unique atmospheres, tense, and always haunting with a fantastic Ryan Gosling.
Ironically, for a film whose soundtrack proclaims the Driver to be "a real human being", there is exactly one genuine human being in this film, and it is not Ryan Gosling's. It is Oscar Isaac as Standard, who manages to put more depth of feeling and emotion into his introductory scene than is present in the entire rest of the film. I really did want to like this film more than I did the first time, but if anything I like it less, which is a shame because there is a good deal to like here.
I will give Nicholas Winding Refn this: he knows how to create style. The film is rather ambitious for a more modern and commercial…
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!