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…
Meticulously crafted, bursting with hypnotic visuals and an amazing soundtrack, overflowing with directorial flourish, and all matched with a sweet central relationship; Nicolas Winding Refn's Drive is a shiny neo-noir that is as cool as can be, going from one masterful scene to the next. The opening scene, set to the underlying pulse of Tick of the Clock by Chromatics, is one of the greatest scenes of all time. Using the illuminating neon, the distant police sirens, and the constant noise of an intense Basketball game on the radio; Refn immediately captures the attention of the audience with pure ease and class.
As The Driver walks into the LA night, with his trademark jacket over his shoulder, the credits hit. With Kavinsky's Nightcall flowing into your ears, It's Refn's sign to release every bit of tension and sit back in a state of elation and utter bliss.
And It's only the beginning. Refn, you are a master.
One of of the few films I watched in the theaters that physically affected me. I was shivering with nerves like I haven’t in a long time. The slowburn aggression of Ryan Gosling’s character coupled with the stylization of director Nicolas Winding-Refn, who clearly delights in violence, had me quaking like a little kid.
Nicolas Winding Refn's directing style isn't my cup of tea, but "Drive" is superior to "Only God Forgives" and it's, at least, watchable because there's a storyline I can follow. I admit I loved some touches of the director and the soundtrack was cute too. Ryan Gosling is definately good and the character he portrayed was interesting in every aspect. Oh, and I loved that Scorpion jacket!
I have a complicated history with Nicolas Winding Refn's "Drive": the first time I watched it, I was left very cold from the graphic violence and minimalist narrative. However, I was unable to shake the experience from my mind. With each subsequent viewing, I have admired the film a little bit more. Now I see "Drive" for what it is: a stylish, beautifully filmed portrait of loneliness, desire, morality, crime, and of course, fast cars. In other words, here's an action movie that transcends typical action movies. In a lot of ways, the film reminded me of "Taxi Driver," both of which have dangerous, conflicted, emotionally muted men at their center, though I've also heard critics namedrop "Le Samouraï" (a…
I get it now. It's been over 3 years since I watched Drive and back then I didn't get it, but I do now, and I love it. #Masterpiece
"Hey, you want a toothpick?"
Deed me denken aan the Place Beyond the Pines.
Ik vond dit heel erg goed, erg interessant.
Nog maar te zwijgen over de soundtrack.
Misschien nu eens Only God Forgives bekijken..
A real human being.
Dropping tabs and staring at the Disney World stunt car derby. Love LSD.
Really really good. As good as everyone been saying in my opnion.
I love everything about it.
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!