Drive is cool; there’s no way around it. In point of fact I don’t know if there’s a better way to describe Nicolas Winding Refn’s latest film other than in terms of its inherent, blatant coolness, or more accurately a more appropriate way. “Cool” is what Drive embodies in every single detail, minute or otherwise; it’s art which concerns itself utterly with a veneer of detached stylishness, and indisputably that coolness flows through the film’s veins and embeds itself at the base level of its cinematic DNA. But to treat Drive as a textbook case of style over substance is a blunder– an understandable blunder, maybe, but a blunder nonetheless.
“Cool” can be a somewhat nebulous term, of course, but used here it refers to not simply the film’s slick exterior but also to the thematic stuff simmering beneath the hood (if you’ll permit me to employ a car metaphor). Drive, with its car chases and jolting spurts violence, is all about what its characters keep locked away behind the images they project; maybe put more succinctly, it’s about these people all losing their personal cool demeanor. Drive‘s proclivities toward surface coolness belie the film’s very real interest on the substantive; for all of its emphasis on attitude and aesthetic, Drive‘s foremost concern is in its examination of its characters and its depiction of how they all eventually begin to unravel and relinquish their coolness.
Primarily, that study is made upon the Driver (Ryan Gosling), the epitome of cool in a film which itself epitomizes cool. He’s a man of few words (in fact he barely speaks more than a couple dozen lines throughout the entire film), a hip-dressing mechanic with a stolid, collected manner who splits his time during the day working at a garage for Shannon (Bryan Cranston) and performing stunts on movie sets; by night, he serves as a getaway driver for crooks. The Driver runs a tight, regimented ship that’s comprised of rigid provisions, but his discipline makes him the best at what he does, and it’s a modus operandi that seems to translate to all other spheres of his life.
But of course this is a crime noir, and no matter how hard a noir hero tries he can’t help but fall in love with a pretty face. Case in point, the Driver meets Irene (Carey Mulligan) and quickly breaks his habit of denying himself the pleasure of meaningful interaction; we’re already aware of the sort of movie we’re watching, so it’s only natural that his connection to Irene ultimately lands him in a lot of hot water with a couple of mobsters, Bernie (Albert Brooks) and Nino (Ron Perlman), when he offers to help her ex-con husband, Standard (Oscar Isaac) pay off some prison debts by driving him to a job.
Drive is filled with mirrors– no smoke, just reflective surfaces, or more specifically reflective characters– and strives to shatter the projected personae of each of its characters. Considering how assertively the film is defined by its stylishness, Refn never rides on that characteristic to a cool-but-hollow finale; he instead takes a group of characters who can each be defined as categorical archetypes within crime and noir canon and subsequently breaks them down. Bernie and the Driver, for example, are both two sides of the same coin– smooth, composed, adept at playing with their cards close to their chests, but by the end of the film Refn has had them both tear down their images and visit brutal vengeance upon their various enemies. Put simply they give up on playing it cool. By the third act, there’s no room for either of them to do so– they have no other options left.
I think to other directors, “cool” is important because it helps sell and carve out a niche for their movie. For Refn, “cool” matters because in his view anything that’s so indescribably cool as Drive, or Drive‘s characters, is hiding part of itself away from the peering eyes of the world. Clearly Refn sought to mine each of his characters and unveil what each of them has tucked away inside themselves, and it’s that synthesis of compelling stylization and outstanding character work that makes Drive so great. You will not see a film that so meticulously develops its principle and supporting players or is so hypnotically stylish in 2011 as this; it’s the rare sort of picture that’s having its cake and eating it without conveying airs of pretension or a more general contumeliousness in the process.
Refn pours all of that great character work into one of the year’s most sterling casts, with a reinvented Ryan Gosling running at the head of the pack. Gosling oozes cool, but then the entire cast does too– even Albert Brooks. Brooks’ Bernie Rose might even be cooler than Gosling’s Driver in some ways, but that Refn managed to take a comedy writer and a former Mouseketeer and make them both so magnetically cool is a truly impressive feat. Even those who aren’t fond of Gosling (such as myself) won’t be able to deny him here; he’s crafted a timeless character out of visceral, physical expression in the absence of bountiful dialogue, and every raised eyebrow, every smile, every movement serves a purpose. Brooks, by contrast, talks up something of a storm and gives his calculatingly ruthless heavy a warmth that makes his barbarism all the more shocking– especially since he almost never ceases to be congenial, even when he’s fatally slashing someone with a hidden razor.
Meanwhile, Cranston continues the impressive streak he’s been on since Breaking Bad first aired and Perlman digs his teeth into the scenery hamming things up as a wannabe made man. Interestingly, they both want the same thing– respect, or maybe something in life they can call their own– but being two totally different men they take drastically different measures to get what they’re after. Nino’s bid for legitimacy ends up spelling doom for everyone else, Shannon’s doesn’t actually involve hurting anyone. And of course there’s Mulligan, the dame, a more loquacious character than the Driver but still not one for great speeches. Mulligan’s an innocent bystander here, but she and Gosling have an undeniably smoldering, if subtle, chemistry with one another; she plays vulnerable well, but she’s committed to her family and it’s clear that she’s torn between her unspoken attraction to the Driver and her devotion to Standard and their son. Her narrative with Gosling is a beautifully nuanced, impossible sort of love.
It also encapsulates the movie’s most essential moment– a passionate kiss in a dimly lit elevator containing one of Nino’s thugs. In a film where the characters stand behind the walls they’ve built up, the Driver’s willingness to make himself vulnerable quietly speaks volumes. For all of its cinematic heritage and cool action and stylization, Drive most of all is about people stepping out from behind their emotional edifices and presenting themselves bluntly to others. It’s an honest film, it’s a harsh film, it’s a lush and gorgeous film, and maybe it’s Refn’s best film to date.
80 thoughts on “Review: Drive, 2011, dir. Nicolas Winding Refn”
Thank you, Andrew. I can always count on your insightful reviews. Keep up the good work. I love this film with a passion. Refn has crafted a work of art and a classic imo. LOVE IT!
I feel a little bit guilty saying that Drive needed more driving. When the action comes it is tense and artfully done without shying away from the extreme violence, but that all starts to go away as soon as the characters start talking, or sighing and looking at each other. Nice review.
Blain– thank you very much. I’m a huge fan of this movie, and actually more now than I was just after viewing it. To be frank, I’ve been sort of teetering on the subject of film lately, and watching Drive really validated and supported my passion for the medium, so it’s been something of a life saver. Could be a minor modern classic (or not so minor).
Dan– I don’t know, the movie wasn’t really about the violence for me. The violence is just sort of a byproduct of its human relationships, not the main portion of the show, though if the human stuff didn’t work for you then I guess that’s probably the real issue. Always good to talk movies with you!
Great review! You articulated very well exactly what it is that makes this movie’s stylization so compelling: it’s as enigmatic as the Driver is, revealing very little but leaving no doubt that there’s a lot to explore under the surface.
You’re right. It is “Cool” it’s “Wicked Cool” – being from Mass, I bet you know the phrase well. LOL.
It’s an excellent excellent excellent movie that is drenched in style. I’ve started to go back and check out Refn’s other films. I watched “Valhalla Rising” this week. This film has that one topped pretty easily, but it’s impossible not to think that this is a guy who we should keep a close eye on as a director. He’s obviously an artist with the camera.
“The Kiss” was a great moment. The guys on the slashfilmcast made an awesome point on it. One way or the other, no matter what happened in the next minute, that was a kiss goodbye. Even if he survives, she’ll never look at him the same way, and of course, there’s the possibility that either or both could die.
Julia– first of all, welcome to A Constant Visual Feast. Secondly, you’re exactly, nail-on-the-head correct; it’s what the film doesn’t explicitly portray that makes it so electric and thoroughly, grippingly watchable. Refn never tips his hand enough to disrupt that fine balance, and the result is just mesmerizing. Hope to see you around more!
Dan– I think I’d probably say “wicked pissah”, and that’s as much as you’ll get out of me. Never provoke me to say “pahk the cah in Hahvahd yahd”.
Valhalla Rising is solid– I may actually go on something of a Refn-a-thon and watch that and Bronson again and do a little bit on Refn as a director. He’s one of those talents that can get me in a seat without any difficulty, at this point anyhow. Drive I think really establishes him as someone to watch.
Great point on “the kiss”, too. I suppose I should get around to listening to that cast, then– it’s a fabulous little analysis and I wonder what else they’ve got to say.
Oh boy another Valhalla fan! Including me, that makes by my count:P That was great, this was even better. Refn, despite being color blind is just a master at visual poetry. Sure his films don’t appeal to a great many but like David Lynch, those that get him really enjoy his work ans he, as you say, “oozes style”.
An 80’s Western with the perfect acting and score from Cliff Martinez, this is just one slick and timeless film that, I think, would make Michael Mann very proud:P
I think what I love most of all about Drive— at least on a non-thematic level– is that it’s clearly a film born of the crime thrillers of the 70s/80s and classic noir, but it’s also clearly a film made in the 2010s. Refn took those influences and brought them forward instead of remaining stuck in another period of time.
Wonderfully written review Andrew. This is an instant classic for me. I loved everything about it, from the retro style to the oddly perfect music to the performances and direction. This movie proves that there is nothing wrong with style over substance.
I had always liked Gosling – before Lars and the Real Girl he had never really given me a reason to though – and Drive only cements that feeling now. Such a great performance. It’s a shame it’s not that “Academy” performance that can get nominated.
Castor– thanks very much, Drive really inspired me and I’m happy to hear that it shows in my writing here. For me, this is is also an instant classic; it’s as close to perfect as a film can get, and I think it’s deceptively complex as the cool gets peeled back and things get brutally honest.
Fitz– I have never been sold on Gosling, but this changes that. (Admittedly I never saw Blue Valentine). I’d love to see him sign up with more directors like Refn, who clearly knew how to get a good performance out of the guy.
I would say so. In actuality I haven’t really come across any bad reviews– I kind of figured that most everyone loved it– but I guess that’s just my luck.
See it for yourself and let me know what you think!
I have come across a bad review, but I actually had to question whether or not the critic had actually watched the whole movie. I have seen it three times now, and I still can’t get enough.
I should probably check Rotten Tomatoes– it’s at 93% Fresh, but I’m sure someone on there didn’t like it. Different strokes and all that, but you and are of the same mind. I could watch this movie a few more times and be just as excited.
Thumbs up, a very in depth review. This film looks to cool not to see, regardless what anybody says! Are the driving scenes as good as those in Ronin, the Bourne films, or the original Italian Job tho?
The driving scenes are pretty good, but they’re also really few and far between; it’s not an action movie so much as it’s a crime noir, but the action that there is (be that a car chase or a fight scene) is really good.
The film’s problematic botched job is followed with a really, really great car chase which should be more than enough to sate the palates of car chase junkies. Easily.
I enjoyed Drive quite a lot, I’ll probably see it again later on.
It is a triumph of style and nothing but style. Assuming that there is a lot going on underneath, that material certainly isn’t explored in the film itself.
The characters stop growing and evolving halfway through. Gosling does do enigmatic well, but doesn’t do anything else.
Of course, for the story the film wishes to tell, Gosling doesn’t really need to do more. So, I think this character isn’t as big a challenge as I was hoping it would be, and the story isn’t as deep as I had hoped.
Drive is memorable though, and-as Andrew said-very cool.
You know, the Driver isn’t the most complex role a person could take, but Gosling does a lot with a really downbeat, quiet character and makes him incredibly electric and compelling. I appreciated how much effort he put into cultivating expressions for the Driver and giving him real personality behind his dispassionate visage.
I don’t know that I’d agree that the film doesn’t explore any of the themes behind the scenes– I think most of Drive is really all about diving into the Driver’s psyche and revealing him more and more as a person up until the film’s final frame. In fact I’d go so far as to say that Drive is much more about that than it is about car chases or cool violence (though it IS about those things, too).
Thanks for stopping by! Always appreciative of good conversation.
Excellent review! I loved this movie and in the time since I’ve thought about it often and think I might try to catch it again before it leaves the theater.
what’s cool, is ryan gosling. yes, please. i don’t care what piece of garbage or high roller film he’s in; i’m game. he’s a tasty treat for the eye. and i am thrilled to hear this movie is cool because i do plan on paying a solid $10 to see it at the theater….$25 after popcorn and candy and maybe a slurpee. http://www.icouldntmakethisshitup.wordpress.com
I only scanned this post because i still want to see it but I am even more excited to see it after reading the first two and last two lines. I’ll definitely come back to read the entire review once I’ve seen it though. C:
Terrific review for a fantastic film. I personally loved Drive. I not only loved it for it’s slick appeal, but also for how romantic it was. The first half of the film, where Mulligan and Gosling seemingly fall in love, wonderfully heightens the violence on the horizon.
this movie sucked. i kept waiting for the driving and the action to pick up….and it never did. all the dialogue in the trailer, is the dialogue in the movie.
seriously, i need to come to your blog next time i want to watch a movie. yesterday i decided to watch shark night 3d at the cinemas. I aint no movie critic, but that movie was soooo predictable.
Informative review Andrew. As the father of 3 young ones, I have not watched many movies over the past few years, but this one sounds like it would be a good one.
I love Ryan Gosling. I however disliked this movie. It is an action movie with very little action. The movie is titled “Drive” but there was very little driving to be seen. The trailer made it seem more than what it was. It was really just an akward and weird love story that ended as badly as it started…eh…just my opinion though…lol. Enjoyed reading your thoughts on it! 🙂
Ah, but it’s a crime noir– not an action movie. If you’re looking for action from that sort of movie you’ll be disappoint, but the action that does exist is really, really good.
This is also why I tend to avoid trailers. Bad trailers can kill movies.
Thanks for stopping by! Hope to hear from you more often.
I agree with you when you say trailers can ruin a movie, because this trailer definitely did. It gives anyone the impression that they are in for an action film. Most people base their opinions on whether they are going to see a movie based off the trailer. The average movie goer (which I am) is not going to read up on the film before hand to see that its not action, but instead a “crime noir”…smh
You will definitely find me stopping by in the future. Check my page out if u get a chance! :). Later!
Well, I can’t say I disagree with you at all. Most people don’t research before going to see a movie, so it’s really up to the studio to make sure it’s advertised well. I don’t feel like Drive really was. I felt more or less the same way about Watchmen.
I’ll drop you a note in your blog too! Thanks for stopping by!
Yes it was cool but didn’t you think the opening chase set up an expectation the film fails to meet as it crawls through the drama with the cliche godfather-esque ending??? villagebandwidth.com
Not especially. I think it sets up what the Driver does and allows the film to lead itself into the heist plot that sparks off the plot. The opening chase is very much character-driven and more about establishing the Driver than it is about being a cool car chase (which it is anyways).
I don’t understand the Godfather comment, frankly.
It’s an action movie with the “calmness” (or let me say “coolness”) that not all action film gives (not that they’re supposed to give it anyway). But this film served as a breathing space for me.
Great review Andrew and you can tell your admiration based on your effusiveness on the topic! I had a hard time with the director’s previous films, which I then researched but his stylistic sense definitely peaks in “Drive.” I liked it as well:
I think Refn’s definitely at a career-high with style here, for sure. That said I really like how varied his other movies (that I’ve seen) are in terms of their stylizations.
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Thank you, Andrew. I can always count on your insightful reviews. Keep up the good work. I love this film with a passion. Refn has crafted a work of art and a classic imo. LOVE IT!
I feel a little bit guilty saying that Drive needed more driving. When the action comes it is tense and artfully done without shying away from the extreme violence, but that all starts to go away as soon as the characters start talking, or sighing and looking at each other. Nice review.
Blain– thank you very much. I’m a huge fan of this movie, and actually more now than I was just after viewing it. To be frank, I’ve been sort of teetering on the subject of film lately, and watching Drive really validated and supported my passion for the medium, so it’s been something of a life saver. Could be a minor modern classic (or not so minor).
Dan– I don’t know, the movie wasn’t really about the violence for me. The violence is just sort of a byproduct of its human relationships, not the main portion of the show, though if the human stuff didn’t work for you then I guess that’s probably the real issue. Always good to talk movies with you!
Great review! You articulated very well exactly what it is that makes this movie’s stylization so compelling: it’s as enigmatic as the Driver is, revealing very little but leaving no doubt that there’s a lot to explore under the surface.
Awesome work as always Andy.
You’re right. It is “Cool” it’s “Wicked Cool” – being from Mass, I bet you know the phrase well. LOL.
It’s an excellent excellent excellent movie that is drenched in style. I’ve started to go back and check out Refn’s other films. I watched “Valhalla Rising” this week. This film has that one topped pretty easily, but it’s impossible not to think that this is a guy who we should keep a close eye on as a director. He’s obviously an artist with the camera.
“The Kiss” was a great moment. The guys on the slashfilmcast made an awesome point on it. One way or the other, no matter what happened in the next minute, that was a kiss goodbye. Even if he survives, she’ll never look at him the same way, and of course, there’s the possibility that either or both could die.
AWESOME movie.
Julia– first of all, welcome to A Constant Visual Feast. Secondly, you’re exactly, nail-on-the-head correct; it’s what the film doesn’t explicitly portray that makes it so electric and thoroughly, grippingly watchable. Refn never tips his hand enough to disrupt that fine balance, and the result is just mesmerizing. Hope to see you around more!
Dan– I think I’d probably say “wicked pissah”, and that’s as much as you’ll get out of me. Never provoke me to say “pahk the cah in Hahvahd yahd”.
Valhalla Rising is solid– I may actually go on something of a Refn-a-thon and watch that and Bronson again and do a little bit on Refn as a director. He’s one of those talents that can get me in a seat without any difficulty, at this point anyhow. Drive I think really establishes him as someone to watch.
Great point on “the kiss”, too. I suppose I should get around to listening to that cast, then– it’s a fabulous little analysis and I wonder what else they’ve got to say.
Oh boy another Valhalla fan! Including me, that makes by my count:P That was great, this was even better. Refn, despite being color blind is just a master at visual poetry. Sure his films don’t appeal to a great many but like David Lynch, those that get him really enjoy his work ans he, as you say, “oozes style”.
An 80’s Western with the perfect acting and score from Cliff Martinez, this is just one slick and timeless film that, I think, would make Michael Mann very proud:P
I think what I love most of all about Drive— at least on a non-thematic level– is that it’s clearly a film born of the crime thrillers of the 70s/80s and classic noir, but it’s also clearly a film made in the 2010s. Refn took those influences and brought them forward instead of remaining stuck in another period of time.
Wonderfully written review Andrew. This is an instant classic for me. I loved everything about it, from the retro style to the oddly perfect music to the performances and direction. This movie proves that there is nothing wrong with style over substance.
I had always liked Gosling – before Lars and the Real Girl he had never really given me a reason to though – and Drive only cements that feeling now. Such a great performance. It’s a shame it’s not that “Academy” performance that can get nominated.
Castor– thanks very much, Drive really inspired me and I’m happy to hear that it shows in my writing here. For me, this is is also an instant classic; it’s as close to perfect as a film can get, and I think it’s deceptively complex as the cool gets peeled back and things get brutally honest.
Fitz– I have never been sold on Gosling, but this changes that. (Admittedly I never saw Blue Valentine). I’d love to see him sign up with more directors like Refn, who clearly knew how to get a good performance out of the guy.
I haven’t seen Blue Valentine either, though after this that will change soon.
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Looking forward to seeing this. I’ve heard mixed reviews, but after reading yours, something tells me the “bad” reviews come from misunderstanding…
I would say so. In actuality I haven’t really come across any bad reviews– I kind of figured that most everyone loved it– but I guess that’s just my luck.
See it for yourself and let me know what you think!
I have come across a bad review, but I actually had to question whether or not the critic had actually watched the whole movie. I have seen it three times now, and I still can’t get enough.
I should probably check Rotten Tomatoes– it’s at 93% Fresh, but I’m sure someone on there didn’t like it. Different strokes and all that, but you and are of the same mind. I could watch this movie a few more times and be just as excited.
Totally going to see this. I’m a big Gosling fan.
want to watch it now!
Thumbs up, a very in depth review. This film looks to cool not to see, regardless what anybody says! Are the driving scenes as good as those in Ronin, the Bourne films, or the original Italian Job tho?
The driving scenes are pretty good, but they’re also really few and far between; it’s not an action movie so much as it’s a crime noir, but the action that there is (be that a car chase or a fight scene) is really good.
The film’s problematic botched job is followed with a really, really great car chase which should be more than enough to sate the palates of car chase junkies. Easily.
Nice review! I thought this film was very fun and filmed beautifully. Ryan Gosling was magnetic.
I thought the music added a nice dimension to the movie.
Please check out my review of the soundtrack on ‘Frontier Psychiatrist.’
http://frontpsych.com/2011/09/26/a-review-of-the-drive-soundtrack/
Great blog to discover!
I enjoyed Drive quite a lot, I’ll probably see it again later on.
It is a triumph of style and nothing but style. Assuming that there is a lot going on underneath, that material certainly isn’t explored in the film itself.
The characters stop growing and evolving halfway through. Gosling does do enigmatic well, but doesn’t do anything else.
Of course, for the story the film wishes to tell, Gosling doesn’t really need to do more. So, I think this character isn’t as big a challenge as I was hoping it would be, and the story isn’t as deep as I had hoped.
Drive is memorable though, and-as Andrew said-very cool.
You know, the Driver isn’t the most complex role a person could take, but Gosling does a lot with a really downbeat, quiet character and makes him incredibly electric and compelling. I appreciated how much effort he put into cultivating expressions for the Driver and giving him real personality behind his dispassionate visage.
I don’t know that I’d agree that the film doesn’t explore any of the themes behind the scenes– I think most of Drive is really all about diving into the Driver’s psyche and revealing him more and more as a person up until the film’s final frame. In fact I’d go so far as to say that Drive is much more about that than it is about car chases or cool violence (though it IS about those things, too).
Thanks for stopping by! Always appreciative of good conversation.
Awesome review, going to add this to my must see list now. Thank you.
I need to watch tv more! This is the first time I’ve seen this! I will have to see this.
Dr Webs– thanks! Check it out whenever you can, it’s definitely worth the price of admission.
Lakia– you’ll also have to let me know what you think of it!
Whay an excellent review!!
Simply Put. I saw the Pink Letttering and the First long started with the Gloves and I KNEW it was going to be EPIC.
I really love Ryan Gosling, he’s an awesome actor, by far one of my favorites! Thanks for the review =)
Excellent review! I loved this movie and in the time since I’ve thought about it often and think I might try to catch it again before it leaves the theater.
Could we just have a car movie WITHOUT girls please?
It uses the same font as the book I’m making!!! And why is it in PURPLE-PINK????
watched, quite interesting.
what’s cool, is ryan gosling. yes, please. i don’t care what piece of garbage or high roller film he’s in; i’m game. he’s a tasty treat for the eye. and i am thrilled to hear this movie is cool because i do plan on paying a solid $10 to see it at the theater….$25 after popcorn and candy and maybe a slurpee.
http://www.icouldntmakethisshitup.wordpress.com
nice review…
I only scanned this post because i still want to see it but I am even more excited to see it after reading the first two and last two lines. I’ll definitely come back to read the entire review once I’ve seen it though. C:
Well, I look forward to when you see Drive for yourself! Hope you enjoy it as much as I do!
Terrific review for a fantastic film. I personally loved Drive. I not only loved it for it’s slick appeal, but also for how romantic it was. The first half of the film, where Mulligan and Gosling seemingly fall in love, wonderfully heightens the violence on the horizon.
I agree with that completely– it’s like the calm before the storm, all building up to the elevator scene.
ryan gosling, i hope it would his another film, another side…
this movie sucked. i kept waiting for the driving and the action to pick up….and it never did. all the dialogue in the trailer, is the dialogue in the movie.
-Bianca
Sorry you didn’t like it, Bianca, but it’s not an action movie. I think that might be part of the problem.
You may as well go watch a comedy and expect to be frightened.
The movie I want to watch is 2012 and I think I should watch this movie first.
can’t wait to see this
seriously, i need to come to your blog next time i want to watch a movie. yesterday i decided to watch shark night 3d at the cinemas. I aint no movie critic, but that movie was soooo predictable.
nice
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Love how thorough this is! Really good review of a film i’m desperate to see
Informative review Andrew. As the father of 3 young ones, I have not watched many movies over the past few years, but this one sounds like it would be a good one.
I love Ryan Gosling. I however disliked this movie. It is an action movie with very little action. The movie is titled “Drive” but there was very little driving to be seen. The trailer made it seem more than what it was. It was really just an akward and weird love story that ended as badly as it started…eh…just my opinion though…lol. Enjoyed reading your thoughts on it! 🙂
Ah, but it’s a crime noir– not an action movie. If you’re looking for action from that sort of movie you’ll be disappoint, but the action that does exist is really, really good.
This is also why I tend to avoid trailers. Bad trailers can kill movies.
Thanks for stopping by! Hope to hear from you more often.
I agree with you when you say trailers can ruin a movie, because this trailer definitely did. It gives anyone the impression that they are in for an action film. Most people base their opinions on whether they are going to see a movie based off the trailer. The average movie goer (which I am) is not going to read up on the film before hand to see that its not action, but instead a “crime noir”…smh
You will definitely find me stopping by in the future. Check my page out if u get a chance! :). Later!
Well, I can’t say I disagree with you at all. Most people don’t research before going to see a movie, so it’s really up to the studio to make sure it’s advertised well. I don’t feel like Drive really was. I felt more or less the same way about Watchmen.
I’ll drop you a note in your blog too! Thanks for stopping by!
Even the poster makes the movie look cool. It has that 80’s hot pink title. I definitely have to see this.
I never go to the movies and hardly ever read reviews for new flicks but your review made me want to see this movie in the theater
Or….I could just watch the Transporter.
You could, but why wouldn’t you just watch a smarter, better made movie that doesn’t contradict its own logic at every turn?
Give Drive a chance, you might dig it!
thanks for the great review. For anyone intrested in radio check out my blog http://kyleericson.wordpress.com/
Loved this film. Oh that kiss, I can’t get it out of my head! Great review! 🙂
Me too. It’s such a pivotal moment and Refn made sure it played perfectly. It’s definitely the moment where the movie shifts gears for good.
Great review, awesome blog! Well done.
Thanks for the review. I’ve heard different things about this film.
Yes it was cool but didn’t you think the opening chase set up an expectation the film fails to meet as it crawls through the drama with the cliche godfather-esque ending??? villagebandwidth.com
Not especially. I think it sets up what the Driver does and allows the film to lead itself into the heist plot that sparks off the plot. The opening chase is very much character-driven and more about establishing the Driver than it is about being a cool car chase (which it is anyways).
I don’t understand the Godfather comment, frankly.
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I loved the movie! Great review.
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OK, worth a look. Thanks for the headsup.
It’s an action movie with the “calmness” (or let me say “coolness”) that not all action film gives (not that they’re supposed to give it anyway). But this film served as a breathing space for me.
Well said, and I agree with this completely!
you convinced me to watch this movie 😛
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Great review Andrew and you can tell your admiration based on your effusiveness on the topic! I had a hard time with the director’s previous films, which I then researched but his stylistic sense definitely peaks in “Drive.” I liked it as well:
http://colincarman.wordpress.com/2011/09/17/film-review-drive-2011/
I think Refn’s definitely at a career-high with style here, for sure. That said I really like how varied his other movies (that I’ve seen) are in terms of their stylizations.
Brilliant review, makes me question whether I should watch it. I probably wont, but atleast I am questioning.