Drive gave him a snazzy wardrobe and a memorable electro-pop soundtrack. Would Ryan Gosling have signed onto these other projects if they provided him the same?
When Louis Bloom, a con man desperate for work, muscles into the world of L.A. crime journalism, he blurs the line between observer and participant to become the star of his own story.
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.
Director:
Nicolas Winding Refn
Stars:
Ryan Gosling,
Kristin Scott Thomas,
Vithaya Pansringarm
A young blade runner's discovery of a long-buried secret leads him to track down former blade runner Rick Deckard, who's been missing for thirty years.
When Keller Dover's daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts.
A frontiersman on a fur trading expedition in the 1820s fights for survival after being mauled by a bear and left for dead by members of his own hunting team.
A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.
Director:
Alex Garland
Stars:
Alicia Vikander,
Domhnall Gleeson,
Oscar Isaac
In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.
Director:
David Fincher
Stars:
Jake Gyllenhaal,
Robert Downey Jr.,
Mark Ruffalo
With his wife's disappearance having become the focus of an intense media circus, a man sees the spotlight turned on him when it's suspected that he may not be innocent.
Director:
David Fincher
Stars:
Ben Affleck,
Rosamund Pike,
Neil Patrick Harris
A wealthy New York City investment banking executive, Patrick Bateman, hides his alternate psychopathic ego from his co-workers and friends as he delves deeper into his violent, hedonistic fantasies.
An aspiring model, Jesse, is new to Los Angeles. However, her beauty and youth, which generate intense fascination and jealousy within the fashion industry, may prove themselves sinister.
Director:
Nicolas Winding Refn
Stars:
Elle Fanning,
Christina Hendricks,
Keanu Reeves
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
Beth Mickle was hired as production designer on Ryan Gosling's recommendation; they had worked together on Half Nelson (2006). Prior to filming, Mickle supervised a crew of 40, routinely working 16-to-18-hour days. This was her most expensive film to date, and Mickle felt freer since, compared to Half Nelson (2006), "there was another zero added to the budget." See more »
Goofs
At 44:38 into the movie and during the chase after the pawn shop robbery, the camera cuts to a shot of the girl in the back seat showing the chase car being flipped in slow motion. Just to her left shoulder on the rear interior deck of the car is the Iconix HD camera that is used to photograph some of the case scene. 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 »
Alternate Versions
The US theatrical version of the film featured less dialogue; the line referring to the toad and the scorpion was absent, as was Nino's line: "Go check out who this guy fucking is." The ambient track usage also varied, with some scenes containing altered tracks and or track timing, and in some cases different tracks entirely. See more »
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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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.