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…
This film is perfect, there are no scenes that are irrelevant, the soundtrack is just amazing And ryan gosing Doesn't do a lot talking but he does it with his fist.
the visuals are stunning and Ryan and Carey have amazing chemistry. 5/5
Ryan Gosling is Driver. Driver drives much, talks little. Driver develops thing for pixie-blonde neighbor Casey Mulligan. Pixie-blonde has son and husband who is in prison. Husband gets out of prison. Things get complicated. Art-house action and car chases ensue.
One of my favorites. Brilliant cinematography, excellent use of the Cinemascope aspect ratio in close car interiors and apartment hallways. Brilliant colors, lighting, etc. A wonderful and well-integrated score keeps things cranked up and on edge.
Ryan Gosling achieves Keanu-Reeves-like levels of smoldering intensity and Bryan Cranston is a treat in anything.
Even with seemingly slow parts, the direction is always tight and focused and doesn't lose my attention.
Another film best enjoyed with good headphones.
am I a straight white boy now
In re-watching this film for the first time in three years, I think what helped turn the key in this slick retro engine and build a momentum where I didn't feel there was one before, is my understanding of Ryan Gosling’s performance. In that first viewing I excitedly clutched my rented copy expecting something of a Tarantino exercise in verbosity of pop culture shenanigans and quick wit laced with escalating levels of violence, what I instead got was some love story in an idiosyncratic world that was punctuated with endless silences where the people felt like marionettes in stasis, and all of this carried by a glum and solidarity unnamed protagonist who seemed to me like an anthropomorphic equivalent of…
a trilha sonora é boa, a história nao tem nada demais.. fiquei na esperança de que o filme fosse sobre a primeira cena :/
Ryan Gosling Drives bad people around so they can do bad shit
This review reportedly contains spoilers. I can handle the truth.
The term style over substance is used to describe movies where the technical aspects overshadow the conceptual aspects. “Drive” may not have a whole lot in the line of story or characters, but I don’t think it falls into that category. Rather, it’s a rare example of a movie where the style and the substance are sort of the same thing. Because this movie is told heavily through visuals, they manage to tell the story on that aspect alone with the aid of occasional dialogue. About 25% of which is spoken by Ryan Gosling. He plays the role of the driver. His real name, past life, and relations are unknown, but he is still one of the most…
Like the driver, not much to say, except, gotta love that soundtrack
- 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!