This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
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?
This review may contain spoilers. I can handle the truth.
"Sorry about the noise."
"I was gonna call the cops."
"I wish you would."
Disciplined, intoxicating cinema; a nuts and bolts crime thriller titillated through Nicolas Winding Refn's vivid neon aesthetic. Formed by gentle smiles and intimate, silent romance, Drive continues to electrify viewers because its stakes are based in unspoken feelings and heavy hearts. "A Real Hero" fills the air as the Driver, Irene and Benicio visit paradise, if only for a little while before trouble shows up back at home. Oscar Isaac's somber performance still casts an uncertain light onto the film's searing moments of connection; an aura visually evident by Isaac's shadow cast against the wall during a hallway conversation between the Driver and Irene, stretching…
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…
This review may contain spoilers. I can handle the truth.
*Kavinsky is playing*
"Hey, I know this car mechanic who would be a great race car driver!"
"Okay, here’s 300k"
*nice camera work*
*Ryan Gosling being all awesome*
"Oh no! My neighbor knows that guy who gave us 300k!"
*Ryan Gosling is still awesome*
*even more sweet violence*
*more great camera work*
*a little bit more violence*
Drive is a beauty. A golden jewel of bloodwashed brutality.
It's a silent, throbbing, neon lit world of pain, anger and death. It explodes in blood gushing, it throws corpses around, blood on fancy fast cars.
It's essentially about motherhood. Golden, sacred, sublime. The only thing worth saving in this nihilist chaos of pornographic violence.
The elevator scene is brilliant. Gold and purity descending slowly into violence - the driver's hand lightly touches the mothers womb before the first and last golden kiss. It's a sacred moment, a moment that lingers into eternity.
Then it explodes in brutality, a death fight against death to save the only thing worth saving.
First Refn. I was expecting for it not to be my thing but it just swept me in. Carey Mulligan, Isaac, and Gosling are just fantastic. The pacing and composition is just perfect. But the violence ruined it all. It is grotesque; gratuitous in every sense of the word. Normally I would just write it off as not my kind of film but the rest of it is brilliant. The violence is really out of place in such a poetic and emotional film. Really disappointing.
I debiti non si contano, ma l'abilità del regista danese sta nel saper recuperare le suggestioni tragiche dell'anti-eroe del noir classico (un duro inguaribilmente romantico e dal cuore grande), inserendole in un registro più moderno, fatto anche di violenza grafica. Ryan Gosling è all'altezza del compito, deve ancora smussare gli angoli, ma è sulla strada giusta per diventare la moderna maschera noir. Regia di gran classe che non urta, montaggio da oscar (soprattutto nel notevole incipit) e un tappeto sonoro di tutto rispetto.
Not the idea movie to watch on a plane. The lady beside me was so distraught.
Real hooman beans
Drive is an exercise in elegance, style, and pace. The synth/electronic soundtrack mixed with the bright gold/white lighting oozes cool, and Gosling’s stoic enigma of a protagonist radiates control. He’s a guy who can make a silly scorpion jacket look as iconic as Indiana Jones’ hat/whip.
The first half of the film plays out like a fairytale romance. It's filled with long silences and quiet stares between the two leads. The beginning takes it's time, but it helps humanize The Driver and adds depth to his otherwise stoic character. However, this romance is shattered by the gunshots and ultraviolence of the second half. The alarmingly quick change from serenity to action is jarring, and builds incredible tension.
The elevator scene…
Boring doesn’t even begin to describe how mundane this movie is ..
the fuck!!!!! this movie is prettier than me :/
not like stupid/dull, but as in movies that are so insanely packed with things and ideas and visuals they become…
(Working on organizing it by similar aesthetic.)