(Working on organizing it by similar aesthetic.)
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…
• Drive is Nicolas Winding Refn’s magnum opus where arthouse meets action in the most thrilling, stylish and brutal way
• Albert Brooks is as chilling as he’s ever been as crime boss Bernie Rose (he even shaved his eyebrows for this damn role!)
• There is some of the old ultraviolence as Alex and his droogs would say, which is presented in a truly raw and realistic manner
• The music is another one of the highlights, combining electronic synth tracks that will make you go right back to the 80s with a memorable score composed by Cliff Martinez
• Movies that focus more on the anti-hero are usually the ones I find the most fascinating to watch…
Drive is undoubtedly one of, if not the best shot film of 2011. Refn perfectly capsulates his neo-noir against the gorgeous neon-lit night-time cistyscape, allowing for some of the most drop-dead gorgeous cinematography I've ever seen. The car chase segments that bookend the film are so magnificent in execution that they rival the landmark chase in Bullitt. The way the tension boils before exploding in a hodgepodge of blood and adrenaline is so well done and unlike anything I've ever seen in another film. The 80's-vibe soundtrack is what really makes the film the ultimate experience, however, as I find myself put in a trance every time the opening credits start. But the soundtrack doesn't just drop off after that…
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…
dull as smoldering shit
I've always enjoyed watching films, but when a friend told me to sit down and watch this it took me to a whole new level. It showed me what film as a medium can do, visually and emotionally.
Nicholas Winding Refn's critically acclaimed masterpiece made such an impact on the film community that it's always present in discussions and very relevant despite coming out five years ago. It started a whole "genre" of film with many violent and stylised films following in its wake.
Ryan Gosling and Carey Mulligan excel at conveying emotion with next to no dialogue. Most of the emotion comes from the actors faces, the subtle glances and expressions saying more than dialogue ever could. This film…
Refn filmography watch en route to THE NEON DEMON #2:
The next time I see the Los Angeles skyline, I better hear Nightcall.
Film is tremendous. I was kind of unsure how this would have compared to Only God Forgives as my favorite. Overjoyed knowing it's a close race, rather than OGF being head of the pack by leaps and bounds.
I'm not feeling the spiel to ramble about deep thoughts on it. The elevator scene which showcases both the internal and external motives/emotions of the film is all you need to know. It comes together in ONE scene.
Just hit me Refn is returning to Southern California for THE NEON DEMON. I'm now triple the excitement I've had for over a year.
After watcting OGF I decided to return to where it all started. Drive is masterpiece plain and simple. No other film captures both the gloss and grit of city life like Drive does.
Brutality and beauty coexist in the crime drama Drive. What's not to love about this breathtaking film? The cast was outstanding, the script was thoughtfully structured to make an all more interesting story, and the filmography alone made this movie one of my all time favorites.
Anything this movie can do, 'Thief' can do better.
everything about this film is classy, the direction, the main actor(of course), the soundtrack and the look of the film.
Irene: "What do you do?"
Driver: "I drive."
Drive is a beautiful, violent masterpiece, a strange euphoric film that radiates what I can really only describe as a "neon" feeling. This is the first Nicolas Winding Refn film that I've seen, and it makes all his other movies have quite a high bar to live up to. I think that the best part of this film is the soundtrack, which reminds me of old video game music, or 90's movie music. One thing that this movie did was make it matter when people died, and not just main characters, but people who you shouldn't like. Like, in the motel sequence, I found myself wincing from the gore, even though I'd…
Hotline Miami: La película. Ah, y es un peliculote.
Oh, you've seen Citizen Kane but not Touch of Evil? You must not be a serious film nerd like me.…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…