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|Index||1238 reviews in total|
'Drive' is a triumph of style over substance. However, in this case
style is the substance. The unexpected pop music, garishly pink credits
and mood-filled lighting, all conspire to create a truly distinctive
flavour. Without the flourishes 'Drive' would merely be another languid
crime drama. It pays homage to the 80s, and if this was made then, we'd
be looking back at it as a classic of its kind. It's made to stand out.
And it does.
Ryan Gosling is the kid with no name. By day a stuntman, by night a getaway driver. Five minutes: that's all he gives his clients. A minute longer and he's gone. He can afford to be so direct because he's the best at what he does. He uses his cunning to elude the cops. When they're metres away he phlegmatically parks the car and turns off the lights, or drives behind them and waits in areas where helicopters can't track him.
The Kid has a past. We don't know that, we assume it. How else could he kill so mercilessly? Maybe that's why he's laconic: it's another way to be invisible. There's an economy of acting on display here, which I enjoyed because Gosling is an actor you can quite easily watch doing 'nothing' and still be entertained.
Serving this film is a nostalgic bubble-gum pop soundtrack. I never knew this genre could be made to seem so sophisticated. It's not an obvious score but it works beautifully. It brings out the story's pathos. The slo-mos with 'A real human being' playing (now on my iPod) are cathartic.
As Irene, Carey Mulligan is perfect as the love interest. She's The Kid's neighbour. While her partner, Standard (Oscar Isaac) is in prison, she and The Kid are free to flirt. Their chemistry is lovely to behold. It's subtle. They interact mostly through smiles, which reinforces the point that communication is done mostly through body language.
Standard's release from prison provides the thrust of the story. Some heavies he owes money to coerce him to rob a pawn shop. He resists and they beat him into submission. The Kid intervenes when Standard's son is handed a symbolic bullet by one of the thugs. But it all goes wrong. Horribly wrong. He intuits it's a set-up, and in the final third, the story becomes one of mutual retribution. I want to tell you more, but doing that will spoil it for you.
This is a violent film. Scratch that. This is an exceptionally violent film. But I have no qualms because none of it glorified. It repels you and makes you wince, as real violence should. The few violent scenes are accentuated because they are dispersed throughout a deliberately slow-burning film.
The whole cast forms a wonderful ensemble. The principal players are cast against type and are convincing, particularly Ron Perlman's Jewish pizzeria owner, who longs to be Italian, and his partner, Albert Brooks, who is more reasonable but no less minatory. And of course the brilliant Ryan Gosling, as a lugubrious loner.
So much thought has gone into every sequence, like in the lift when The Kid kisses Irene to relax her before literally bashing in a man's skull, or the close-up of the scorpion on his jacket when we see his dark side emerge, or the shot of Albert Brooks looking as if he regrets a murder, suggesting that the mobster adage 'It's not personal, it's business' is nonsense.
Easily one of the worst movies I've ever seen. Anybody who thinks that the car chase scenes in Bullit or The French Connection 1)obviously knows nothing about cars and 2)has never seen Bullit or The French Connection and 3)is as retarded as Ryan Gosling comes off in this movie. I watched this movie with a crowd (10) of people, and we all walked away wishing we had the last 100 minutes of our lives back and feeling that our collective IQs had dropped at least 50 points. Another error that we ALL picked out is that the newer model Impala that he drives in one of the "chase" sequences is making sounds of being manually shifted and we all know that those cars are only available as an automatic. This movie was stupid. Go ahead and watch it if you wish to become stupider.
I ought to watch Drive, the piece by the Amini & Rafn, the to be
ambitious soul of Noel & Eastwood, just by the IMDb rating.
A big disappointment.
I better be careful in future.
Rafn better need to understand that a man with just few words in his mouth(Ryan Gosling) needn't made a strong character. And a few new style of killing a human body neither generates any grip, nor reflects the character properly.
The movie lacks: 1. Meaning 2. Drama 3. Thrill 4. Presentation 5. Shadow of all the characters 6. Good Dialogues And many more...
There is nothing to watch this movie for.
Nicholas Winding Refn's Drive stars Ryan Gossling as the nameless protagonist (much the same conceit as Ryan O'Neals nameless driver in Walter Hill's The Driver (1976). Critics have fawned over what could be described oxymoronically as an art-house movie; and Refn even received the prestigious director's award at this year's Cannes (nothing to do with Von Trier being persona non grata, of course). All in all, I was expecting a masterpiece. Instead, I was left with a limp, lifeless and boringly self-conscious menage of cinematic motifs, borrowed heavily from Tarantino, Lynch and Walter Hill. The result is an uninspired, embarrassing mess of a movie. It doesn't deserve to be seen in the same league as the infinitely superior Mulholland Drive and Lost Highway, which Refn has plundered for purely aesthetic gains and nothing else. He even had the temerity to use Lynch's ex-musical partner, Angelo Badalamentti, who uses his typically Lynchian sounds to little effect. Intringuingly, at one stage, even Lynch's music from Inland Empire seems to have been deliberately mimicked as some kind of in-joke on Badalamentti's behalf (or perhaps an ironic riposte for not being chosen by Lynch to provide the Inland Empire OST). While Lynch offers abstraction and depth, Drive is all surface gloss and bokeh there is no mystery to behold or engage the viewer; just the bland, vacuous features of Gossling, who is a blank canvas and nothing else. Critics have predictably lapped up its style and gratuitous violence as heralding a new talent, much like they fawned over Tarantino a decade ago. Take away the violence and uninspiring story, and what's left is nothing. Drive is ultimately all style and no substance. Avoid.
I believe that the most important element in a movie first is "having heart and soul in the delivery" in other words dramatic structure which leads to impressiveness and effectiveness both. Why the worst film I have ever seen in my life is Federico Fellini's Otto e Mezzo? or Why I hated Darren Aranofsky's The Fountain? Because there were no heart and soul in the delivery and believe me especially critics love that! Cinema without heart. Now, let's talk about Drive. What an original and "never-seen-before" story! A hired driver who doesn't talk much decides to protect a family, a girl and her child and things in his job go awry! Other than such clichés in the plot and lacking of heart and soul, there were other flaws in the movie. Being a "driver" or being a cool hired killer is not that easy! Ryan Gosling's wooden performance and his senseless character are just pointless and has not any interesting or deep element. The violence in the movie was neither artistic nor entertaining, it was sick and sadistic! Also it was pointless! You know Quentin Tarantino makes extremely violent movies like Kill Bill, but it is entertaining and it is artistic at the same time. Drive is not! What about music? Well, oddly, it reminded me Tron, another movie I didn't like, so simply I wasn't impressed by the songs either. Is Drive an action packed? Not at all! The movie has an exciting opening, but then it turns into an empty and dull pseudo-art work with some disgusting violence. The rest of the movie is not a piece of art or an audiovisual feast in contrast with the hype, that's why I was seriously frustrated by the movie! Unfortunately the flaws hasn't finished yet, Drive has an anti climax and pretentious finale that leaves you totally unsatisfied. I am sorry, but the ones who call this as art owe other art house directors an apology.
Drive is a movie that's been on my radar for quite some time
(especially after it showed up seemingly out of nowhere and garnered
almost universal critical praise). After a colleague mentioned in
passing that it was unexpectedly dark and well worth a look-see, I set
aside 100 minutes this past Wednesday night to finally see what all the
fuss is about.
The movie follows an enigmatic figure known only as "Driver." He's a mechanic and Hollywood stuntman who spends his nights as a wheelman for people pulling burglaries. He's quiet and, aside from the death-defying nature of both his day and night jobs, doesn't seem to have much of a "normal" life. He doesn't have any friendsapart from the gnarled shop owner who hired him some years priorand seems consistently lost in thought. When he speaks, everyone listens (including viewers), because there's something magnetic about his persona. This is due to Gosling's impeccable depiction of an apparently tortured protagonistI say "apparently" because even though we don't get any real back story it's clear that said Driver is constantly trying to overcome his own demons and the crisp writing and direction. Things progress deliberately (which doesn't necessarily mean slowly), and each frame is saturated with emotional resonance.
Much to my surprise, Drive is, at its heart, a crime drama. The plot is fueled by an east coast/west coast mob fiasco that's directly related to a botched robbery attempt our Driver was involved in. There were moments where this nebulous MacGuffin felt a little cliché (echoes of a A History of Violence abound), but make no mistake: the tension is tangible from start to finish. In fact, I can't remember a recent offering within this genre was so methodical while also managing to foster a never wavering sense of dread that something horrendous was just around the corner (okay, maybe The Departed fits the bill, but you get the point).
Drive is like an otherwise perfect piece of fruit with a few minor imperfections. And like the bruised pear these are easily pared away, and what's left is one of the more engrossing crime-action thrillers of the past decade. Be sure to check it out.
*** This review may contain spoilers ***
Let me start off by saying that I totally disagree with the rating of
this movie. I mean, come on! 7.9?!? This movie tries way too hard to be
artsy by having long scenes, that in the end, have almost nothing to do
with the rest of the movie. One of the reasons people say this movie is
great, is the acting and characters. But, I totally disagree with that.
Ryan Gosling tries to act cool and mysterious but, comes off as being
creepy and weird. HALF of the movie is just "Driver" (Gosling) and
"Irene" (Mulligan) staring at each other and barely talking, while some
irritatingly boring music plays loudly in the background, acting as
filler for what should be taken up by actual acting and emotion.
Okay, so if all the boring artsy stuff had been the whole movie, then it would have been fine. 6.5/10 easy for trying to be interesting and artsy.
But, then the movie tries to make up for the boringness by throwing extremely gory "action" scenes into the mix. Mind you, when I say "throw" I mean they LITERALLY go from boring slow motion bulls**t to blowing a girls head off with a shotgun and stabbing a guy in the eye with a metal pipe. Another example of this is when Driver and Irene are making out in an elevator then, all of the sudden, he starts bashing a guys head in with his foot! It makes no sense and comes out of no where!!!
The most annoying thing about this movie is the driving parts.
This movie is titled "DRIVE" (I do understand that it has two meanings) and has multiple driving scenes in the trailer but, there are maybe 2 or 3 driving scenes worth anything, and the whole part about Shannon telling Bernie that he's "Special" and he's "never seen anything like it" but, we see maybe three full minutes of him actually doing impressive driving. Most of the car scenes are of him just driving around in his car, or driving Irene around in his car, or him tinkering with his car... you get the picture here. Plus the whole "stunt driver" thing is basically just a slap in the face, as there is only ONE F***ING SCENE of him being a stunt driver.
The thing that pisses me off the most is the fact that this has such high reviews and a high rating. When this movie first came out it had a 8.7 and now it has a 7.9, which I think is still too high. When you think about other movies that have much better acting, directing, action scenes, characters, and plot, but have much lower ratings and then you see this piece of cinematic dogs**t get a 7.9, it just shows how terrible the movie industry has become and how stupid the majority of people in the world have are.
*** This review may contain spoilers ***
I'll make it short I read many bad reviews in here, the more i read the
more i get the impression that the film industry has created so much
sh*t, so many no substance exploding cars hot chicks flicks that it has
created so many unsophisticated moviegoers who will in fact be happier
with Avatar or Fast Five to name a few than pieces of art like this, or
the artist, or tinker tailor soldier spy... or even shame to name a few
done THIS year. I wonder how these would feel about classics like china
town or taxi driver which were more about subtlety, drama, pace always
trying to justify every piece of violence with emotional background of
I see people complaining very much about how we know nothing about the Driver or even about how the second car in the heist where standard gets killed has no business there. I have no words for these kinds of people there is nothing to be said when stupidity is so fervent inside of your bodies.
This is my favorite movie of 2011
*** This review may contain spoilers ***
Seriously, this is for people who think they're all artsy because it has some quiet scenes and disturbing violence packed into one movie. Several scenes are meaningless and try to provoke the viewer without giving further boost to the story. The lack of substance and dialog from the main character is not exciting or smart in any way.
It's just another "american-man-saving-a-defenceless-woman" kind of movie with no character depth and the story is very predictable. Not even an exciting twist at the end..
Nice filming and setting though. And I have to say that the soundtrack is the best thing with this movie. It's really good actually. They should've shortened it down and made it a music video instead.
Ill be honest i never finished the film, it was too awful to finish.
I always give the 20minute rule however this film got the slight benefit of the doubt considering its mega over hyped status. It got 30 minutes out of me before i simply couldn't take it any longer.
I cant really add to the already split reviews on is film, its seems you either love it or hate it!
To conclude - soundtrack = horrific, acting = unbearable, storyline = boring and pointless, overall = a complete waste of my valuable time, id rather watch insidious again and thats saying something!
save your money folks or even your download time, it really isn't worth the effort.
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