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…
probably the coolest, most stylish, atmospheric thriller I know.
so tuneful and quiet at the same time.
still owns a Refn-quirkiness, even if its Refns most approachable film.
the actors don't speak a lot, but every scene is fully significant and tells you the thoughts of the characters only with their gesture and faces.
This is just one of my absolutely favorite movies.
This movie has style, is beautifully made, and has a top-shelf cast. The plot is not much more than a well-mounted, gussied up potboiler that mixes very familiar and well-worn plot points with above average talent. I've heard people rave about it, so I must admit that I was a little puzzled by its lack of depth considering its reputation.
That being said...Albert Brooks, Bryan Cranston, Ron Perlman, and a perfectly cast Ryan Gosling who fills the main role by blankly staring and saying very little, but still managing to project a certain thuggish menace. And yet, he's gentle-looking enough to believe that he may have a soft spot. What I did like is that his past is not explained, that he's more anger-driven rage and skill than simple brute strength.
The movie is pared down to the essentials needed to tell its story, and it does so very well. But it really is pure pulp, and that's okay.
Undeniably cool with poignant performances and a pop synth score that blends smoothly with each expertly framed shot. The musical cue for the romance hits the right chords and the lift scene is truly amazing.
Nicolas Winding Refn has crafted a thing of beauty that is both realistic and fantastical. While Drive is a ultimately a classic crime thriller, it stands out as a bold and unique triumph when compared to its contemporaries.
The kid is an old school Hollywood hero. The tough, strong, silent type with a penchant for violence and a soft spot for a compassionate cause. The kind of leading man before computer effects allowed them all to fly, use mind control to stop bullets, teleport or whatever other crazy bullshit they think up in an attempt to entertain us these days.
Plus you have to love the choice of font, jacket, gloves, blades, toothpick, Pearlman's face, the stunt mask and that welcomingly taught running time.
Auch bei der Zweitsichtung ein Genuss. Audiovisuell einfach grandios. Hat mich sofort wieder voll reingezogen. Instant Classic.
I'm not artsy or anything, but this movie has always stuck with me for some reason, the style, the soundtrack, and just the overall fell of the movie. It was gud, that's all, it gave me some feels mayn.
I give it a thumb up the nose.
Still an amazing film on another view.
One of the best films of 2011.
Is there really much to say about Drive? 3 years after its release, its aesthetic and structure have continued to permeate cinema. It's not that Drive created that look, but it seems to have popularized the 80's thriller throwback.
Refn's best film so far, Drive is one of my personal favorites of the past 5 years.
- 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!