Drive is a sleek and stylish tribute to '80s b-movies, but with that comes a dissociation due to the blatant artificiality of it all. The delivery of the dialogue is purposely stilted, with the sound mix instead focusing on ambient beats that raise tension and set a cool tone in equal measure.

I think cool is definitely the right word for this movie. It's far removed from anything remotely resembling reality, which allows for some absolutely bravado sequences (although I'd argue the movie is missing a truly dynamite car chase) while also resulting in characters who are deliberately hollow vessels. Ryan Gosling's nameless hero works as a modern day gunslinger/samurai type with the bare minimum of dialogue. He's a bit baby-faced to be such a badass, but when it comes time to fuck shit up he's believably intimidating. Also, his Scorpio jacket is awesome (like Clint's Man With No Name, Gosling always seems to be wearing the same outfit even when it becomes stained with blood.)If Gosling is able to rise beyond his young age, Carey Mulligan is hampered by a fundamentally underdeveloped role. The woman was rarely more than an object of desire for the action hero, so all that's left is some basic fundamentals. Maybe it was because they whitewashed a Latina character, but more than that she only seems believable in her attraction to Gosling. As a single mother, or as wife to ex-con Standard Gabriel - played by Oscar Isaacs who once again is dynamite at projecting barely-concealed hostility and playful menace - she's just clearly pretending.

But then again, the whole movie is kind of an elaborate imitation. I don't know if I see Jodorowsky in this like I see Herzog in Valhalla Rising and Kubrick in Bronson, but there's a whole lot of Refn's signature bursts of violence and a strong '80s b-movie vibe. At one point, the main heavy even has a monologue about 'shitty 80s action movies that had a European vibe.'

But Drive is certainly not shitty, it's just very self aware and clearly valuing its perfect compositions and a constantly buzzing sound mix over showing the trials and tribulations of real human beings.

Drive is such a beautiful and fantastic film. From the first scene with the robbery sequence, the film keeps you hooked the entire time. Drive doesn't rely on too much dialogue but even when you aren't paying attention to that, the beautiful cinematography of the film will keep you glued to the screen. The aspect of the film I wasn't expecting was just how violent this film. We aren't talking about a little blood here and there but some really gushing, gruesome scenes. That I think just added to just how real and in ways how beautiful the film is. The soundtrack as well is aces and each piece fit well with their given scene. Ryan Gosling does such a fantastic job and I could actually see more of a push for him being nominated for an Oscar for this role as opposed to his role in The Ides of March that comes out in a couple of weeks. Carey Mulligan, Bryan Cranston, and Ron Perlman do great in their supporting roles. If I were to currently rank this in top of the year I would probably put it right behind Harry Potter at #2. ****

My review: http://www.worldofkj.com/article.php?i=434

it's my favorite picture of the year - without even breaking a sweat. so effortlessly, impossibly stylish and engaging on an almost primal level. it doesn't have the scope or voice of malick's tree of life (the other masterpiece released this year), but it levels you just the same through pure cinema. this statement means very little, but it's one of the most flawlessly directed movies i've seen in ages. there isn't a single missed shot or false beat in the entire thing. refn uses his frame in a sublime way - even the basic shot/reverse shot of a dialogue scene is reconsidered (watch for the placement of actors on the edges of frames, and the breaking up of the shot with mirrors) in a drastic manner.

i think the separation between camps on this is going to come from people who insist on declaring this a style over substance exercise, which is absolute bullshit. the folks that create a chasm between what they perceive to be "style" and "substance" in a movie should stop watching fucking movies, because they are missing the goddamn point entirely.

DRIVE

I enjoyed the intensity that the opening drive brought and then the film stopped or seemed to stop for about 20 minutes before something interesting happened again. I like Carey Mulligan but is it just me or is she giving a crying sad face in every move I see her in. I also think it would be a bit unrealistic for a husband who just got out of prison to accept that his wife is hanging out with this manly and clearly good looking guy whom his son can't stop talking about. Regardless, the obviously picks up when they attempt the robbery and things go awry. I loved those parts and his inner violent self. This guy has something deep in him that brings out his threat and release of violence. Anywho, I was surprised at the whole face stomping scene. Reminded me of Irreversible but they didn't show it completely. Okay, so overall the movie was just okay for me even with the controlled violence which I liked. It wasn't overpowering or non-stop but the problem was this whole side story with the girl and child and the lingering face shots and minimal dialogue by Gosling's character. Those were my main problems with the picture. I thought the soundtrack was eh but I did download one of the songs that was used multiple times.

Grade - B

not good

Drive is divinely stylish and entertaining. Nicholas Winding Refn's direction is brilliant and it's easy to see why he won at Cannes; from the 80s-ish neon pink credits to moments of brutal violence following moments of near silence, the film is a dynamic and visual splendor throughout. Ryan Gosling's performance is stunning. Driver is a man of few words, and Gosling says so many things without speaking (and good god is he hot). I can't praise him enough, really...he turns out wonderful performances in each and every film, and an Oscar is NOT far off in his future. Albert Brooks is frightening playing against type (his performance reminded me of William Hurt's great work in A History of Violence), Bryan Cranston and Ron Perlman are both quite good, and Carey Mulligan is solid despite a relatively underwritten role (perhaps the movie's biggest fault). Drive is an homage through and through, and with Gosling's stoic and brilliantly controlled lead performance at the helm, represents a film unlike any other this year. A-

Hence the whole tense conversation in the hallway...

Please. Tense but wife with a hot man friend that your son is gaga over. I got it. It's still phony.

It's suggested the husband is trying to stay clean and embrace his second chance, so going to beat the shit out of the neighbor, while maybe appeasing the very macho nghtvsn, would be a bit out of character. The uneasy, suspicious conversation is enough.

And if the husband did try to beat Gosling up, he would've just ended up getting Irreversible-ed in the hallway, and then the plot would be screwed.

it's still not good

I'm not sure Brooks dreams of being an Italian gangster... Ron Perlman's character is the Jew who wants to be an Italian gangster.

Brooks' character, IMO, dreams of respectability and a chance to transcend his sleazy criminal nature, yet everything goes wrong for him, and he's reduced and stripped down to his most base instincts. There's the shot of his knives--instruments of his brutal, villainous side--being stored beneath glass in his impeccable home, just as he's trying to seal part of himself away and move up the social ladder.

People are coming up with "Driver is dead at the end and gone to Heaven" type theories on IMDb. I s'pose this is natural considering how badly Brooks seems to wound him--a deep stab in the gut--but I'm not going to buy into it. It doesn't reflect how Refn discusses the movie as a skewed superhero origin story.

People need to stop bagging on the ending. It's so beautiful.

It reminds me of the great ending in Miami Vice where Farrell and Gong Li have to part ways. They both love each other, but too much has gone down, and they've both given too much of their souls to their respective worlds, for their love to ever endure.

Irene saw Driver stomp a man's head until it turned to bone-laden soup. The dynamic between them, however sweet it once was, is forever changed. An ending where he keeps the money and drops by and grabs her and her son, and the trio ride to Nicholas Sparks Land and buy a cabin next to Ben Affleck's Town character would've been so less effective. Them both knowing they have a real affection for each other, but also knowing (especially him knowing) they have to part ways is beautiful and dark and just right.

If Driver was in heaven, then the scene of Irene knocking on his door makes no sense. He's alive.

This was absolutely incredible. Riveting and gorgeously shot - I was completely enthralled from the first frame to the last. Also, the soundtrack is amazing and I bought it as soon as I got back from seeing this. A

I can't say I'm surprised by the hyperbolic, breathless reactions... But I wonder how long it'll take for the inevitable "it's not that great" pushback.

I don't want to fight that battle alone.

I thought the soundtrack would be better. Dug one or two songs. The film though is great! Ryan Gosling is amazing and Carey Mulligan is so lovely. It's so beautifully made. I don't care that this isn't a balls-to-the-wall action film. I prefer the film we got. It's just too bad most moviegoers will expect an action film and walk away mad that it's really a slower paced drama with some fits of violence. Very cool film that I keep thinking about.

A-

While I believe he's alive, I'm not sure how the scene of her knocking on his door suggests he isn't dead at the end...

I wonder, if Bullitt was released today, would it be regarded as a slow-paced, unconventional, moody art-house action film like Drive?

That usually only happens when something is a big hit and/or showered with Oscars. I don't see film fans turning on this one.

Is the soundtrack already available on iTunes? I know it's not in stores until the 27th. Wouldn't mind a couple of the songs from the film, especially "Under Your Spell."

If Transformers were released thirty years ago, would it make audiences heads implode while they all collectively shit their pants?

Ha! It would have won Best Picture. Not only that but it would have swept.