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|Index||1300 reviews in total|
*** This review may contain spoilers ***
Once again critics let me down. I went to this movie after checking out
the rottentomatoes reviews, and at around 90+% I thought it's a must
see. Well, I was wrong.
Pace - kind of slow, it picks up occasionally
Ryan - cool, intense (he's always playing intense characters or he's rather playing himself), doesn't speak much, but we can guess there something going on in his head and if he didn't care for Carey's character he could have easily been a psychopath in the league with the bad guys. Good driver though. And once again he loves the girl with same obstinacy that we've seen in the other of his movies.
Carey - here I am lost because I am not too sure what was her role besides being cute as a pie (or button) and the object of Ryan's character's affection. Pretty much she didn't have a clue of what's going on. But her face must trigger some deep need to protect feelings in the men around her.
Bad guys - One thing that struck me are Ron Perlman's teeth. They are very long! OK, it's irrelevant. Other than that, the usual, nothing new, they are unnecessarily violent (or belligerent how a character put it) , they don't listen to logic, they like to slash people with objects they care about (which they clean and keep in nice boxes).
Naked girls - yes, there is a scene full of breast enhanced girls that didn't seem to care a guy was about to get his head smashed with a hammer. But hey, we would expect too much from them. Right?
Music - I liked the music, I would give it a 9 or 10
Image - pretty nice in some cases.
To summarize - I didn't see anything new and unforgettable. I would save my money if I were you.
*** This review may contain spoilers ***
I have watched many movies from a range of countries and decades. I
believe every good movie either has a good plot or a good story to
tell. Brilliant movies have both.
Drive has neither. It lacks a plot and the story is slow, disjointed and lacks believaility.
The first half of the movie establishes that the main character has a crush or is in love with a neighbour with a kid. Seriously, you do not need to spend half a movie establishing something so simple, not to mention the main character is a complete stalker / creep bordering on mentally disabled. The second half of the movie is the main character getting revenge for a robbery gone wrong. All the second half of the movie establishes is how truly dumb the main character is. Btw, it's not because of the unhappy ending (Mind you I prefer unhappy endings).
There are serious plot holes as well. One previous reviewer mentioned that it was never explained why there was a second car at the heist gone wrong, only to be told off by another reviewer who loved the movie. There IS no explanation - why would you rob money from people you have sent to rob it in the first place, especially when you aren't paying two of them, and the one you are paying is in on the second robbery?!?!?!
Further, many reviewers appear to suggest those who do not like the movie would rather see CGI nonsense. I do not like movies which substitute film making with CGI. However, this movie is not a good example of one.
I find it difficult to understand what people see in this movie. It is an attempt at a meaningful, character driven movie which falls flat.
If you want to see a movie with a good plot - watch Ghost Writer or Oldboy If you want to see a movie with a good story - watch Barry Lyndon, Shawshank Redemption, Goodfellas, Casino If you want to see a movie with good driving and limited CGI - watch Initial D, The Legend of Speed, Taxi (French movie) or Grand Prix If you want to see a good artsy action movie - watch A Clockwork Orange
People who believe every thing they see on TV will not like this movie,
the trailer makes it look like a stupid fast and furious rip-off, a
type of movie for people that applaud at the end of the movie and laugh
at stupid jokes or dog whistle when an attractive women walks on the
screen BUT THANK THE MOVIE GODS its not. People going to a movie
because there was action in the trailers only to be disappointed by a
movie that was actually really good... does that remind you of
anything? well for me it reminded me of fight club, stupid people
coming back from the cinemas saying the movie was bad because Brad Pitt
wasn't beating on someone for every waking minute of the movie.
So to summaries "Driver" is very good, Ryan Goslings best.. so far, and people who come to you and say "that movie was boring, Ryan Gosling wasn't racing around everywhere having sex with things and shooting people" are idiots.
*** This review may contain spoilers ***
"Drive" is a story about a young man with no name who works as a
stuntman during the day and works as a getaway driver, at times, during
the night. A man with no attachments to his past, he wandered through
his days unnoticed with a determination to stay so. All of this changes
when he meets Irene creating a shift in his priorities leading to
situations and circumstances he would never before involve himself in.
We know nothing about his past and the motives of his present are as
mysterious. The perfect "Anti-Hero", he hits a strange balance of being
a combination of a Western Hero (personified by Gary Cooper, Clint
Eastwood) with a darkness close to that of Henry Fonda's "Frank" in
"Once Upon a Time in the West" and Javier Bardem's Anton Chigurh in "No
Country For Old Men".
Nicholas Winding Refn directs this picture and it really shows how far he has come as a film-maker. His use of colours are brilliant as he shifts through darkness and light with an artistic manipulation that contributed to the great cinematography which was essential to create the varying moods. It was predominantly eerie and helped the transitions smoothly leaving a touch of suspense all the way through it's end. The screenplay, written by Hossein Amini, is sufficient in it's brevity adding to the enigma, which was the Driver, enhancing the mystery to his motives by sufficiently cloaking who he is.
The star of the show, except Refn, was Ryan Gosling who continues to build a reputation as one of the actors to look out for. His evolution, which was slowly in the works, hit a new height with his portrayal as "Driver". To be so convincing with such few words and relying only on expressions and mannerisms to be the basis of a great performance is an art which is almost lost today. He is loving, caring, generous and loyal to only a few people but at the same time he is also ruthless, fearless and unflinching in his determination, which sometimes led to "justified cruelty" on those who stood in his way. He is never over-the-top, however out of hand a situation might get, thus building a character who had enviable serenity in testing situations. Ryan Gosling will in all likelihood not be nominated for an Oscar for his best performance to date for what was undoubtedly one of the best performances of 2011 (personally this was my favourite). This, I fear, would be the first of many crimes the Academy will undoubtedly pull on this film in the year.
Gosling is supported more than capably by a great cast. It includes the rising star Carey Mulligan, the love interest, played her torn character with such simplicity and an under-tone of complexity that bringing out a sense of realism would have been very arduous. But, the talent she has, has helped her to find the balance and give one of the most under-rated performances (along with Gosling's) of the year. There is also the brilliant Bryan Cranston whose evolution is just extraordinary. This character actor tests another variation to provide a great supporting role of a man who with his desperation has lost all his dignity clinging on to the last straw of hope which is Gosling. Cranston played the anti-thesis of Walter White (Breaking Bad), with such guile that you forgot it was Mr. White. For a TV actor that is hard to shake off, ask James Gandolfini. Ron Perlman's screen time was small but his significance to the plot was not and he did justice to the role re-enacting his own persona of the "bad guy" he has done so successfully and predominantly in action films.Then, there is the rejuvenated Albert Brooks who gives the performance of his career (and seems the only likely nominee) as mob boss Bernie Ross, who is more like the anti-hero than we would like to admit. A man who is calculating in his ruthlessness and terribly frightening in it's deliverance is the perfect nemesis to the grey hero. They both fight for what they care about and none of them would hesitate to stand up against anyone who would try to destroy what was most important to them.
"Drive" is a must-see for all who want to something different in a year which has been all about recycling and few rare pieces of originality. If you can stomach the violence and the long periods without dialogue then make sure you watch it, otherwise just stay away, it won't be your cup of tea. Let's hope Nick Refn will be able to keep this form for the future
There are so many illogical things in this movie that very quickly I
just stopped caring about what's happening on the screen. There are big
gaps in plot, and there are totally unrealistic details. And if for the
plot holes you may somehow justify them saying that characters are
stupid or under stress, there is no justification for physically
impossible details: a light mattress is blocking the door, car's
headlights are working after several hard head-on crashes, and so on.
I can hardly imagine an intelligent and thinking person would appreciate this movie. Only if somebody stays in a state of trance mindlessly looking at the pretty pictures and listening to the nice music one can probably enjoy it.
I am very surprised by all the positive reviews. Boring and illogical movie, just awful.
I have no idea how this movie has received such glowing reviews. Gosling appears to be heavily sedated throughout the movie, and the virtual lack of dialogue through the majority of the film just adds to the overall boring experience. Overall it's a movie about nothing with no message at all, and it ends by leaving you with no sense of closure or understanding of why you have been subjected to such a depressing experience. If there was any message at all, I would say it was that life sucks and then you die, or crime doesn't pay perhaps, but overall that's a little bit too Disney for my tastes, but perhaps this will appeal to the masses? Do yourself a favour, and spend your time watching something else, or at the very least take some Valium to get yourself in the correct frame of mind for this slow-paced, self-indulgent offering. No Stars.
The stereotypical "White Knight" appears in many films, but the role of
the Driver ranks as one of the most brutal and explosive, while
maintaining heroism to date.
Drive, directed by Nicolas Winding Refn and released on September 16, 2011 in the United States, is a beautiful art-house film reminiscent of the Tarantino's style in Pulp Fiction. Ryan Gosling gives an explosive performance in a movie that is surprisingly but tastefully minimalist.
The film stars Ryan Gosling as the Driver, an unnamed professional driver who holds jobs as mechanic and stunt driver during the day, and has a secret identity as a getaway driver. The Driver meets a girl, Irene (Carey Mulligan), in his apartment elevator and falls in love with her, even though she is married and her husband, Standard (Oscar Isaac), is in jail. After the two have bonded and everything seems to be going well, Standard returns from jail with a debt to pay, which jeopardizes the safety of the girl and her son. The Driver decides to help Standard repay his debt and keep Irene and her son safe by driving for a heist being pulled by Standard as repayment.
The cinematography is one of the main factors why the film is so successful. Refn took great care to create an amazingly real experience. During the tensest parts of the film, where a Hollywood movie would have used music to create suspense, Refn relies on the uncomfortable silence (successfully) to create tension. The film is set in gritty Los Angeles and has intertextual references to Walter Hill's The Driver through similar plots, setting in downtown Los Angeles, and mainly silent protagonists.
Drive is a great thrill ride that is truly beautiful, and adds a real, believable atmosphere to the world in which it is set. This brutal but tasteful film will be enjoyably experienced by many.
*** This review may contain spoilers ***
Certainly, 'Drive' is a thriller. A different and unexpected type of
thriller. Whoever has seen this film will remember maybe the story
line, and a few action sequences, some of them extremely violent. They
will remember first of all the two principal characters and their
almost unreal lover story, they will remember the calm and focused look
of Ryan Gosling (we never get to know the name of his character, he is
just the Driver) which blurs into tenderness when he crosses the
restraint smile of Irene (Carey Mulligan). One kiss followed by a
violent kill, this is the only physical contact the two will ever make
It may take a good 30 minutes for the viewer to decide what this film is about, but then things become clear. It is the most impossible and most beautiful love story we have seen in a while, disguised in a violent action movie. He is a stuntman, and a potential race driver who does not get to the race tracks, but races for burglars, helping them escape the location of their crimes. She is her floor neighbor, she has a kid and a husband in jail. When things seem to converge to some domestic low class drama located in the non-privileged area of Los Angeles, the husband returns from jail, gets soon into trouble, and the Driver is the only one who can potentially help him. Or drive him to his destiny. From here the second half of the film becomes one of the most violent I have seen recently on mainstream cinema, all packaged by director Nicolas Winding Refn in 70s style cinematography mixed with classic cars races.
The sincere and straightforward acting and the day to day appearance of the main characters make the violence (and there is violence!) even more striking. And yet, the overall impression 'Drive' left to me was of one of the most sensible films I have seen recently, with emotion surging up from a very unexpected place. My only problem is that I am not sure to whom this film would be recommended. Action films fans may find a little bit too sentimentality here, romantic movies fans may be shocked by the violence. To all, give this film a try!
This high-acclaimed black noir of our era has accumulated
"best-of-the-year" momentum ever since it garnered a Best Director
honor for the Denmark prodigy Nicolas Winding Refn (from PUSH trilogy
and DRIVE is his Hollywood premier) in Cannes last year.
The film exudes a drastically visual flare almost in every scene, from its one-of-a-kind camera angle, an utterly mind-blowing hue (a mesmerizing contrast between warm orange and ruthless shadow dark). The whole script is as corny as any hacks could write with eyes shut, a point-of- no-return road for a lone hero to save his beloved woman from danger. So plot wise, the film could be a thorough disaster, and here comes our virtuoso director to rescue the film and without embellishing the content, fully showcasing his theatrical aesthetics to fend off the fatigue of the tedious characterization (a taciturn Ryan Gosling can only be beneficial to his staunchest followers, while a dainty Carey Mulligan has too little to display her faculty), among the cast, if one doesn't harbor a over-hyped expectation, Albert Brooks will be a fierily menacing discovery particularly it is creepily against his usual comedic strain.
Subtlety rules, several remarkable shots and tableaux (to wit: the hammer menace in the strip- club's dressing room, the man with a creepy musk in front of the pizzeria before the slaughter with its consequent beach hunt at night and so on) are jaw-droppingly staggering and the violence showcase is harrowingly stylistic, the elevator scene could be on a par with the Gaspar Noé's groundbreakingly grisly IRREVERSIBLE (2002). The film is going to be a classic cult not the least because of all the Oscar snubs it receives, which is confoundingly a congenial sign of its bright future both for the film itself and Mr. Refn's professional career (the latter is even more uncanny regarding the recent vicious curse upon non-American new directors' debut in Hollywood, Refn and Cary Fukunaga from JANE EYRE 2011 are the only jinx-breakers so far).
Ps. the hypnotic soundtrack is the ace, the ending-song COLLEGE'S A REAL HERO is the killing for me.
They were my exact words after getting a feel for this film.
I'll be honest; when I first read, "A mysterious Hollywood stuntman, mechanic and getaway driver lands himself in trouble when he helps out his neighbour." I had no interest in viewing this title. I just though it would be too much like Transporter (Jason Statham)and that film bored me to tears; but, boy, was I wrong! Drive is not a movie, it's a piece of art.
My friend convinced me to watch it and I've been thanking him ever since. The film is so stylish and has such a 'noir' feel to it. Definitely the coolest film of 2011.
One thing I can guarantee is you'll be after the soundtrack once you see this film. Absolutely perfect. It is so strange, yet it works for the movie so well. Nicolas Winding Refn ceases to hypnotise me with his fantastic direction and dedication to detail. Ryan Gosling truly shows his stuff in this movie. I was so shocked by some of his actions and equally shocked by his mental threshold. His character is stone face and so mysterious, it's great; and he is, of course, supported by some fantastic actors, one definitely being Bryan Cranston... that man is a God! This is a very unique film and it can't be missed, I'm glad I changed my mind about watching it. After so many tacky flicks, this has restored my faith in cinema.
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