Doubleheader Reviews: Film Noir Meets Retro Action in Refn’s “Drive”
Sam: Drive is a breath of fresh air, constantly exhaling mediocrity and inhaling extraordinary. It’s a film that surpasses standards and limitations of modern day cinema. The characters are real people, with sincere emotions. Yes, the picture has its idiosyncrasies and flaws. But within its mishap, comes humanity. Nicolas Winding Refn is an auteur among directors – and with Drive he has crafted a mystifying and stunning masterpiece.
The man without a name quickly evokes mystery. Our protagonist, played by the excellent Ryan Gosling, is simply referred to as Driver. After all, that’s exactly what he is. During the day he’s part time mechanic/part time Hollywood stunt man and at night he moonlights as a getaway guy for thieves, low lives, degenerates. It doesn’t matter whom he works for though, because as Goslings’ dark, soft-spoken character says, “I just drive.”
At first it appears Driver has no feelings or inner conflicts with himself. This stoic persona, adopted by Gosling indisputable talents, guides the film down its long and winding road. Though, like everyone at point in life, Driver meets his match – a true test to his seemingly emotionless personality: Irene (Carey Mulligan) a kind woman who just moved in next door with her kid and a husband soon to be released from prison.
For the first time in Driver’s life he found reason for existence. Irene and him hit it off almost instantaneously. The whole romance though is put on hold once Standard (the husband of Irene played by Oscar Isaac) arrives back home. From that moment forward Drive morphs from slow-burning action flick into an intense, engrossing bloodbath.
Standard creates a million dollar heist plan in order to payoff his countless debts from prison. Driver agrees (in the benefit of Irene and her child, Benecio) to assist by doing what he does best: drive. However, the plan goes terribly wrong – mainly because of people with hidden agendas. What ensues after the botched robbery is the motor of our story – thriving on negligence and each characters faulty conscience.
The film is a culmination of ultra violence and unique artistry. Refn, a Danish household name who’s praised for films like Bronsonand The Punisher Series, takes his first crack in American filmmaking. Thankfully, he doesn’t slip into the formulaic nonsense Hollywood consistently churns out week after week, and stays honest to his own ideas and depictions.
With a plethora of talented performers – including two greats Albert Brooks and Ron Perlman (two gangsters who seek demise for Driver), superb supporting roles from Bryan Cranston and Carrey Mulligan – it is Ryan Gosling who stands above the pack. His heartbreaking performance in last years brilliant Blue Valentine, was just the beginning. Here Gosling excels beyond any parameters, only time will tell where this tremendous actor goes.
Drive is a tour-de-force of storytelling, occasionally explicit but often dramatically subtle and moving. It’s hauntingly beautiful portrait of a man finally coming to terms with himself, testing out his sentiment, and driving until he finds his way. Often reminiscent of Bullitt (particularly in the calm, yet riveting chase sequences) while simultaneously containing this 80’s slickness, with its mesmerizing score (by Cliff Martinez) and retroactive flare, Refn has constructed one unique endeavor.
This will be undoubtedly one of the most polarizing films of the year. Consensus is likely to find shortcomings in its rather slow opening 40-minutes and its sheer excess of brutality. I loved every minute of it, though. Part film noir, part sleek retro action-thriller, Drive is, as a whole, a masterpiece.
A
✭✭✭✭/✭✭✭✭
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Castor: Arriving in movie theaters today is Nicholas Winding Refn’s stylish and moody film noir Drive. It’s a movie buzzing with huge acclaim from its premiere at the Cannes Film Festival earlier this year and I’m ecstatic to say that it fulfills its sky-high expectations in every single way. While the trailer may suggest that this could be your familiar, one-note Hollywood car chase action-thriller, do not be fooled. Drive is a staggeringly quiet and visceral work of art, masterfully weaving the fascinating character study of a flawed hero with heart-pounding thrills, and aching romance.
Ryan Gosling stars as the unnamed protagonist (credited as “Driver”), a mechanic and Hollywood stunt driver who moonlights as a hired getaway driver for criminals at night. Having to deal with shady characters on a constant basis, he is a stoic man of few words, emotionally detached and living a peculiar and very lonely life. But that gives way when he starts befriending and falling in love with beautiful neighbor Irene (Carey Mulligan), a young mother whose husband (Oscar Isaac) is unexpectedly released from prison a few days later. As Driver tries to protect this family by helping the husband pull one last heist to settle some prison debts, things go terribly wrong and he is left with no choice but to go on a blood-lusting rampage to make sure that Irene and her young son will never be harmed.
Combining stylish direction, stunning cinematography, outstanding performances and an oddly perfect pop soundtrack, Drive is a moody and thoroughly hypnotizing follow-up to the director’s near silent 2009 film Valhalla Rising. In an era of frenetic quick-cutting and rapidly flowing dialogue, it’s refreshing to see a mainstream movie that is so deliberately paced and so remarkably quiet. Hossein Amini’s screenplay, adapted from James Sallis’ novel, features hardly any dialogue for long stretches of the story, giving the movie an eerie dream-like quality punctuated by short bursts of intense violence. In one of the film’s most unforgettable scene, Driver steals a lengthy, climactic, slow-motion kiss from Irene in an elevator before turning around and brutally stomping on the head of a villain standing next to him.
Refn gleams tension from every moment, his patience materializing as his camera routinely lingers on his actors, allowing them to use slow-burning silence, lengthy looks and quiet moments to magnify the nuance in all the characters. And it’s those fascinating characters populating this story who make Drive so compelling. Albert Brooks, most widely known for his comedic prowess, is shockingly menacing as the crime kingpin and casting him for the role was a daring and genial move by the director. Breaking Bad‘s Bryan Cranston is excellent as a downtrodden fatherly figure for Driver while Oscar Isaac brings depth and vulnerability to Standard, a character that could so easily have been one-dimensional in a lesser film.
But ultimately, this is Gosling’s movie and he shines the brightest in a nearly dialogue-free performance. The gifted Canadian-born actor has always been at his best playing quietly tormented, highly romantic loners and this role certainly was a perfect fit for him. At times abnormally cool and emotionally vacant, Driver is also capable of tender affection and seething rage. You can almost tell that he never had any kind of close relationship with anyone before he met Irene. Subtly conveying a world of emotions through minimal delivery of dialogue and quiet body language, Gosling gives an intensely internal performance, one just as brilliant as his work in last year’s Blue Valentine. He shares good romantic chemistry in a nearly wordless and offbeat relationship with the wonderful Carey Mulligan, who is touching as Irene in a typically thin role.
Detractors will wonder why a movie called “Drive” has only a handful of car chases in it but don’t be mistaken, Nicholas Winding Refn’s film is a sleek gem, the anti-thesis of the frenetically edited, non-stop action flicks that Hollywood studios seem to put on the highest pedestal these days.
Drive has redefined the word “cool” and is easily one of the best movie of the year, striking just the right note between visceral entertainment and artistic ambitions. It’s a masterfully crafted film and in my view, an instant classic.
A-
Notes: Rated R for strong brutal bloody violence, language and some nudity, 100 minutes.
40 Comments
Looks like this one is a winner
It’s victory itself.
You guys are killing me! I want to see this so bad. I pulled in to my driveway from a long week at work to see that I have a flat tire! There’s my movie budget for awhile…
Sorry to hear about the flat tire Colleen
Maybe bring the car to the mall and check out the movie while they take care of it.
I agree pretty much with both of you, it’s definitely my favorite movie of the year so far. I’m seeing it again sometime next week, hopefully the second time will be even better.
I hear you, I will be seeing this again next weekend! I don’t know yet if it’s my favorite of the year but it’s definitely up there in my top 3.
I have to check this out after TCFF is done, I went on a camping trip this weekend so definitely no time to go to the theater. Somehow because it’s from the same director who did Valhalla Rising, I knew it’d be pretty unique. I’m also intrigued because Carey Mulligan is in it. Great reviews guys!
Nicely done gentleman, two well written reviews for an excellent movie. I’d been refraining from reading any reviews until I got to see it for myself, but its every bit as excellent as each of you say.
I gave it an A as well.
I think, Castor, you make an excellent point about people who want to detract from the movie can point out the lack of “Driving” sequences, that’s certainly valid. I might even extend that to the action overall. It’s VERY low key. Not that it’s not brutal, but… its… restrained. Very much like the rest of the film.
I think if I had had that in my expectations when I went in, I would have enjoyed it even more, because I think we’ve been conditioned by Hollywood that slow burn movies like this usually have really explosive finales.
It’s not to say its not excellent. Its a fantastic, fantastic movie.
Nice job!!
Thanks Dan. I can’t believe the movie got a C- CinemaScore at exit polls this weekend. It seems like the average movie-goer couldn’t get past that low key, slow-burn atmosphere we liked so much.
Yeah.
You know, I wish the movie going public wanted better for themselves, but they dont. Thats why we wind up seeing so many movies aimed at the lowest common denominator. They have to dumb it down for it to sell. I mean, an $11 mil opening?
This is why the truly good films are few and far between.
Haven’t seen the film yet but these reviews really convince me to give it a watch sometime soon.
Definitely check it out!
I’m liking the positive reviews I’m reading for this. Well done to Sam and Castor for two excellent critiques of the film – looks like this one has to be seen.
Thanks Dan, hope you enjoy it
…well, I’ve seen it and loved it! One of the best of the year!
An eloquent review, as always! I hadn’t planned to see this movie, but you’ve prompted me to reconsider.
I think you should give it a shot Stephanie.
Absolutely loved this movie. It’s violence was a little uncomfortable for me, so that may effect my the amount of times I re-watch it, but it was easily one of my favorites of the year. Great double review!
The violence was great. It wasn’t cheap or exploitative just for the sake of it.
I also loved this movie. The whole time, I kept thinking that this was the Michael Mann movie that Michael Mann wish he made. Collateral and Miami Vice were stylistically similar, but Drive knocked those movies out of the park. The elevator scene for me was perfect, one of my favorite scenes in movie history.
Excellent point, it reminded me of Collateral, how the city of Los Angeles itself was almost a character of the movie. I think the elevator scene was over-indulgent but nonetheless, a highly memorable scene.
Ha the whole movie is over-indulgent. I thought that was the point. It’s all style over substance, and for me, the elevator was the pinnacle scene.
Just got back from finally seeing it, and I have to agree with Phillip. The Elevator Scene….my God. That’s all, just….my God.
I had a few minor quibbles with the film but overall it was really well done. It felt like a statement by Refn.
Wow, those are some really high marks. Will read the reviews themselves once I’ve seen it, but with those type of scores I know enough and will see it as soon as it is out over here!
Ah well we are honored to have some (minimal) input on your decision to see this movie
I haven’t read the review Castor, I am seeing this tonight, but I just wanted to see your score!! I am very very excited!!
Thanks matey
Enjoy!
Excellent reviews, gents. Both of you!
I am totally on the same page as you guys are with this movie. The funny thing is – as greatly as I relished those chase sequences and the violence, what lingers in my mind days after watching this one are those quieter moments. I’m thinking specifically of the scene where “Driver” asks Irene out on a date. The two are sharing a tightly composed frame. There is a dearth of dialog spoken between the two, but the romantic tension that silence generates is almost unbearable! I actually prefer that little scene to the elevator sequence, even though that is the flashier moment.
It’s film-making like this that just makes me giddy. I love that people are talking about this one so much (incidentally, you both were smart to brace yourselves for this film’s inevitable backlash in your reviews).
Thanks Justin. I’m totally with you about the more meditative moments being the most memorable parts of the movie. I would add that it’s the mood, the atmosphere of Drive that really grew on me. It’s definitely a film that gets better the more you think back about it.
enjoyed your reviews of this film. I think this may be my favorite film of the year.
What did you think of Refn’s decision to avoid the whip set and only use American cars in the film.
One small quibble Sam states “Standard creates a million dollar heist plan in order to payoff his countless debts from prison” Thats not really how it went down in the film and what really occurs is centeral to the noir theme of the film.
I thought only using American cars added to the mood of the movie, making it a thoroughly American story. The city of Los Angeles was essentially a character of the movie and let’s face it, we love our cars. It would have been a slightly different vibe if Driver hopped into a Japanese or European car, don’t you think? Thanks for dropping by Adam.
Sam, I love this line: “constantly exhaling mediocrity and inhaling extraordinary.” That’s like the perfect one line review of this movie. Bravo.
Probably one of the best movies I have seen in recent years and I can be quite picky about what I think is a great film. I can usually know what is going to happen next in a movie due to how predictable they have become recently but with this one, I was on the edge of my seat the entire time and very much appreciated that it did not end like your typical Hollywood action movie. The soundtrack set up a retro and nostalgic feeling throughout the movie and I must say that I loved the slow transitions between scenes (reminds you of a loading scene in a video game or something).
All in all, a solid A for me.
Finally got around to seeing this and I must agree with the reviews above, ‘Drive’ is a technical masterpiece and beautiful character-centric piece. Gosling gives a brilliant performance, and my only gripe with the film was the cartoon-ish aspect of the violence portrayed onscreen, I feel if he had inferred some it of the violence it would have had a larger impact on the audience.
Glad you liked it Jordan. It seems like the violence was a very polarizing aspect of the film.
I would challenge your calling it an instant classic. You’re probably right but unfortunately this film really frustrated me. I love the soundtrack and the mood and the chemistry between Gosling and Mulligan but the violence is excessive and unnecessarily so. The Passion of the Christ for example, the violence is excessive but necessary. I defy anyone to try and justify the violence in Drive. Aside from that, yeah, instant classic. But not 5 stars for me.
Not that there’s all that much violence in Drive, but the violence that does exist propels the plot forward and serves as incidental character development. Why does the Driver exert so much control over every sphere of his life that he possibly can? Because when he loses control, the elevator scene happens. Through his violence, we come to learn a bit about who the Driver really is, and it turns out that he’s a very damaged young man hiding behind a cool exterior. That’s what Drive is all about.
I didn’t find the violence excessive. It’s a bit startling but I think it went well with the style of the movie.
Great to see another fan of this one, Castor. Between its suspense and intensity, pitch perfect soundtrack, and those quiet moments, this one really affected me. Plus, its imagery and settings of my hometown is on par with the best of them (Heat, L.A. Confidential, Chinatown, To Live and Die in L.A., etc.). Great look at this one, my friend.
Yes indeed, I love how the city of LA was used as if it was a character of the film. And the soundtrack is so awesome I might just burn me a CD and cruise at night in my car listening to it ahah
Thanks for dropping by le0pard!
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