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…
The good: Atmosphere, actors
Drive epitomizes cool. Ryan Gosling does a fantastic job of portraying a guy that while stoic and brutal at times is also a soft family man. The style of the movie is fantastic and the little dialogue works well, the colors of blues and gold fit and some really good looking scenes of the city.
***Watched with alternate soundtrack curated by Zane Lowe***
Just a few points to make about this:
1. I really like the idea of doing this. At the end of the day, the original soundtrack still exists but it's good to experiment
2. Drive was a bad choice. I can't think of a recent film where the soundtrack is as universally adored (and perhaps more so) by the film's fans. There are songs which become synonymous with the films that they appear in (Stuck In The Middle With You from Reservoir Dogs for example). For most films there's perhaps one song; there are at least 3 songs which will be forever be associated with Drive. It's inevitable that some people were…
Not gonna lie, I found out about this movie through Hotline Miami. Got the same existential vibes that makes me pretend I will create time to read more stuff by Albert Camus or Dostoyevsky.
If there's a lesson to be learned from this movie, it's to not get involved with dangerous people. Sort of reminded me of The Salton Sea for that reason.
I can't presently think of a filmmaker that uses color better than Refn. This being the first film of his that I have seen, maybe its too early to speak on his style, but here is what I got from Drive: sparse dialogue, smoldering performances, colorful spaces, dream-like music, and bursts of violence. I can dig it.
Best. Movie. Ever!
Nicolas Winding Refn's thriller, which centres around a 'mysterious' protagonist known only as 'Driver', has developed somewhat of a cult following since its 2011 release. For this, the director owes a debt to Cliff Martinez, who compiled the excellent soundtrack that grants Drive a large degree of its appeal. Acclaim has been bestowed mostly upon lead man Ryan Gosling for his turn as the aforementioned Driver, despite the fact that his character does very little throughout the film other than mumble and smile gormlessly...oh, and drive cars really fast. That's not to say that Gosling's performance is undeserving of the praise it has received, as he does addmitedly bring a gravitas to the screen that is perversely endearing. Rather it's…
My first entry as a letterboxd Patron and what would be a better film than Drive! It is absolutely amazing in every way. I especially love the soundtrack and visual style of this film!
Now playing on Spotify: Kavinsky - Nightcall
Title sequence is revolutionary.
"Hey, you want a toothpick?"
Drive was a fun movie. Ryan Gosling did a good job playing the scorpion jacket, toothpick chewing man. I Don't want to give away the movie but lets just say this movie has cool masks.
- 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!