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Drive (2011)

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A mysterious Hollywood stuntman and mechanic moonlights as a getaway driver and finds himself in trouble when he helps out his neighbor.

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(screenplay), (book)
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391 ( 37)
Nominated for 1 Oscar. Another 77 wins & 170 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Kaden Leos ...
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Doc
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Chauffeur (as Joey Bucaro)
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Hitman #1
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Hitman #2
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Storyline

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 shin

Plot Summary | Plot Synopsis

Taglines:

There Are No Clean Getaways See more »

Genres:

Crime | Drama

Motion Picture Rating (MPAA)

Rated R for strong brutal bloody violence, language and some nudity. | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

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Release Date:

16 September 2011 (USA)  »

Also Known As:

Драйв  »

Box Office

Budget:

$15,000,000 (estimated)

Opening Weekend:

$11,340,461 (USA) (18 September 2011)

Gross:

$35,060,689 (USA) (9 February 2012)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

As Nicolas Winding Refn was going through mixer Johnny Jewel's catalog, he picked out "Under Your Spell" and "Tick of the Clock" because he thought of the film being a fairytale. During the climax, "A Real Hero"'s keynote melody, about becoming "a real human being, and a real hero", refrains because that is when the driver changes into both those statuses'. At first, Jewel worried that "Under Your Spell" might be too literal but soon realized it is used in Drive "in the exact same way that I was feeling it when I wrote it. He definitely got the nuance of the song, and understood what it was supposed to mean, and he wanted to give that emotion to the viewer, that same feeling." See more »

Goofs

During the car chase after the pawnshop robbery, the chasing car almost comes to a stop in the last corner. The next shot shows a huge speed before it crashes. See more »

Quotes

[first lines]
Driver: [on phone] 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?
[pause]
Driver: Good. And you won't be able to reach me on this phone again.
See more »

Connections

Referenced in Sam: Drive Parody (2014) See more »

Soundtracks

Back in Toon
Written by Craig Riley
With permission by S.I. Publishing (Socan)
Courtesy of Sounddogs.com Music Licensing
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Intelligent Adrenaline
16 September 2011 | by (United States) – See all my reviews

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 entertainment status.

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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