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…
That's so, so much better, Drive seen and heard as it was meant to be. 5*
This was the 'Radio 1 Rescores' edition - which was an interesting experiment and, in the instrumental tracks specifically, has some merits. However, as a whole, the new score took away from the experience. If anything, it highlighted the silences more. A 'great' film becomes just 'very good'.
This review reportedly contains spoilers. I can handle the truth.
[Radio 1 Re-scores Drive - Curated by Zane Lowe]
I still highly rate this film but the Radio 1 re-score just lacked the edge of the original.
I don't rewatch films that often but this is something like the sixth time I've seen Drive. It was nice to have the new score but it didn't really change the experience that much apart from making me miss the original music and want to see the original version again. In fact I left humming songs from the original. For future rescorings they should do costume dramas or something crazy like that, see if they can inject some life into them, sort of like Sofia Coppola's Marie Antoinette.
Just a quick heads up, this isn't a review of the film itself but instead the 2014 rescore done by the BBC. I think the film is a masterpiece, and is my favourite to this day. With that said, on to the review.
1) Opening Getaway - Fantastic opening song, it matches the pace of each shot in the sequence perfectly, this is important as had this been bad I would've felt differently for the entire rescore.
2) Nightcall? - This was no match for kanvinsky's 'Nightcall', but had nice narratively motivated lyrics. It was hard for this to live up to the original as Nightcall was not only the posterchild of the original soundtrack, but also the opening sequence…
Radio 1 Rescores Drive
Drive is a great film, everything about it is pretty much perfect, especially it's music.
So when I spotted a rescored version of it being shown on TV, curated by Radio 1 DJ Zane Lowe, I thought it was definitely worth checking out to see how it would stack up, and actually it did rather well.
I'm not saying the music was better, or made the film better, it was different, it was novel, and actually it was good. It stood up for itself, held its own and did a fine job, not quite the eighties style electro pop featured on the original however! That music was perfect for the film and its strange not seeing…
BBC RADIO 1 REMIX VERSION
Not as good as the original, wasn't expecting it to be, but still entertaining and a powerful mic of sound and image. A chilling theme that is dampened by this very obvious sound track, not heightened like the last unfortunately.
- 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!