A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
Julian, a drug-smuggler thriving in Bangkok's criminal underworld, sees his life get even more complicated when his mother compels him to find and kill whoever is responsible for his brother's recent death.
Nicolas Winding Refn
Kristin Scott Thomas,
Harvard student Mark Zuckerberg creates the social networking site that would become known as Facebook, but is later sued by two brothers who claimed he stole their idea, and the co-founder who was later squeezed out of the business.
A mysterious man who has multiple jobs as a garage mechanic, a Hollywood stuntman and 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. Written by
Nino (Ron Perlman) is not the character's real name. Bernie (Albert Brooks) mentions Nino is Jewish and calls him Izzy one time. Typically, the Jewish proper names Isaac or Isadore become the nickname Izzy. See more »
After being beaten up, the character 'Standard' has a large gash on the left side of his head. However, when he is being driven to the pawn shop, it has disappeared. See more »
There's a hundred-thousand streets in this city. You don't need to know the route. You give me a time and a place, I give you a five minute window. Anything happens in that five minutes and I'm yours. No matter what. Anything happens a minute either side of that and you're on your own. Do you understand?
Good. And you won't be able to reach me on this phone again.
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After a summer of cheap thrills, Drive delivers thrills on the cheap.
With a budget Michael Bay might have allocated for a single effects
sequence in Transformers 3, Danish director Nicolas Winding Refn made
one of the best movies of the year. Following Bronson and Valhalla
Rising, Refn crafts his most polished, commercial work yet, while
retaining all the ambiguity and unbridled aggression of his
tough-as-nails art house pictures.
Bearing thematic resemblance to Darren Aronofsky's recent output, Drive
is like Black Swan in overdrive. The film pins its headlights on the
dark implications of unchecked obsession and good intentions gone
haywire. That dangerous duality humanity on the razor's edge of
animal brutality is played to unnerving perfection by Ryan Gosling.
Rightly among the most reliable names on the Hollywood marquee, the
star of Drive plays a crucible of a character. A friendly, fatherly
figure to his neighbor (Carey Mulligan) and her young son, he's
decidedly less so when the two are threatened. A sort of oblique,
ultraviolent superhero, the driver leaps to defend the innocent with
bloody determination. If the first half of Drive plays as drama, the
second is straight up revenge fare.
Playing on the juxtaposition of calm and calamity, Refn keeps us on our
toes throughout. Quiet moments stretch into suffocating silence, and
the explosive violence that inevitably shatters it practically tears
the frame in half. The audio is expertly mixed; you'll want to see
Drive loud. From its roaring engines and visceral blows to its curt
dialogue, the film is an altar to the power of great sound design.
In truth, Drive isn't pervasively violent, though its most
excruciatingly effective moments leave a memory trail like tire streaks
on a sunbaked highway. At the heart of the story is a compelling,
surprisingly tender romance. Carey Mulligan has proved herself a
similarly reliable talent to Gosling, and has worked in recent years
with the likes of Michael Mann, Oliver Stone, and Mark Romanek.
Her fragile character's relationship with the driver is subtle and
nuanced in a manner atypical of thriller convention. They're not
family, they're not even sleeping together. Drive is not a sexy film.
Refn fetishizes neither cars nor women; if The Fast and the Furious is
the sleek exterior curves of an automobile, Drive is the greasy,
undulating pistons. And it's utilitarian at a lean 100 minutes.
The rest of the small cast also impresses. Albert Brooks plays against
type as a cutthroat crime lord, and a note-perfect Ron Perlman plays
his meathead partner. Bryan Cranston of TV's Breaking Bad has a small
role too, as employer and confidant to Gosling's character. Their
relationships shuffle as lines are drawn and redrawn, but none of them
comes away unscathed by the film's end.
Drive is either the explosive end to a lukewarm summer movie season or
an early autumn adrenaline rush. In machismo, it far outpaces its
hundred million dollar competition, leaving overwrought tales of lesser
heroes like Thor and Green Lantern in the dust. Its troubled
characters, and the bonds of desperation that link them, elevate the
film above its genre trappings and shield it from disposable
Nicolas Winding Refn's Drive is an anomaly. It's like a 1200 horsepower
hybrid. And it's one of the best movies of 2011.
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