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…
Well that was... intense.
A stylish movie can often lose its edge, get drunk with its own over inflated dialogue. Cgi can take over action stunts making the holy of holies, the car chase, loon silly an unrealistic. Drive has no cgi and though the car chase scenes are fairly unrewarding, they are real. Drive sets a mood, the city Los Angeles, Gosling so Steve McQueen/ Alain Delon hyper cool, the violence which lets face it, we find cool ( Clock work orange started all that) that quiet dialogue free start. There are moments of Bullit, there are Hitchcock like moments when you are forced to interact with the film ( is Gosling gonna blink or am I ), there are Sergio Leone Clint Eastwood moments, where the hero has no name. This is a great Euro/ American noir. Refn is an exciting talent to watch out for.
This is my second time watching this movie. I have a little more appreciation for it but it still didn't impress me. I liked the realistic driving and they did well with the few intense actions scenes. The main problem I have with this movie is that the focus for the Driver and the movie is his relationship with Irene, which is as bland as tofu. Both characters are very shallow and left me not caring. The acting in general wasn't bad but it wasn't great either. The music, much like the character development, didn't do much for me except when it resembled Hotline Miami's (game) soundtrack. The general atmosphere and feel to this movie was good when it was…
Drive is Directed by Nicolas Winding Refn and starts- Ryan Gosling, Carey Mulligan,Bryan Cranston,Albert Brooks,and Oscar Isaac. Drive is of one my favorite movies of all time.Drive is definitely not for everyone, It Is veray art house film with not alot of action and with not alot of talking. But i will say this. Drive in my opinion is a masterpiece. Drive is shot perfectly with no mistakes.I always say that the star of this film is Nicolas Winding Refn his direction was amazing. Every moment in the film bring something new and different and meant something. I never knew where the film was going to go, but i knew something for sure that it will take me somewhere special.As…
The length and number of awkward silences in this movie borders on the surreal.
this was so damn good o hmy god also i want gosling's jacket???
Why I hadn't seen this movie before now, baffles me, because this was one of the strongest and toughest movies that i've had the pleasure of in a long time.
Ryan Gosling is an actor that has always underwhelmed me, but here he's perfect as the quiet anti-hero, operating to a strict moral code, simmering with the potential for extreme violence at any given moment. It's a performance that called to mind the best elements of a young Steve McQueen.
The supporting cast are all convincing, while the driving sequences are beautifully shot with a true sense of urgency.
The soundtrack is pulsing, giving the visuals a very Michael Mann feel.
An exciting and provoking movie that has definately moved into my all time greats list.
This is the art house film of the decade with Drive, featuring fascination scenery, brilliant retro music and a fantastic performance by the late, great Ryan Gosling.
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!