A mysterious Hollywood action film stuntman gets in trouble with gangsters when he tries to help his neighbor's husband rob a pawn shop while serving as his getaway driver.A mysterious Hollywood action film stuntman gets in trouble with gangsters when he tries to help his neighbor's husband rob a pawn shop while serving as his getaway driver.A mysterious Hollywood action film stuntman gets in trouble with gangsters when he tries to help his neighbor's husband rob a pawn shop while serving as his getaway driver.
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- Nominated for 1 Oscar
- 79 wins & 180 nominations total
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- (as Joey Bucaro)
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Featured reviews
Another accolade must be given to actor Ryan Gosling in the lead role. We the audience must invest time into this character, which the film keeps in the first person narrative, most activities outside of his knowledge are outside of ours. He must show realistic reactions to danger, even though his past is never quite explained. The right emphasis is given to revealing moments of his capabilities, so when he is set in harm's way, we believe he can stand up to the test. The rest of the cast is well heeled in talent, allowing the sense of naturalism to provide the tone. As you may notice in critical reviews, when a film exposes no obvious weaknesses, the positive rating goes up. I myself am having a hard time exposing any weakness in this film, I felt I was in good hands, and was not annoyed by any plot contrivances. I happen to be a fan of Michael Mann, as must the director of this film, and the right homage elements work for me. I think of this perhaps of the antithesis of "Fast & Furious". One of the best films I have seen this year, could even get an Oscar nod with the screenplay or editing.
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.
Beautifully crafted pounding action thriller with twisted humor and seriously hard core violence. Compelling tenderness from characters that are unsophisticated in the best sense of the word.
This film will go down as one of the best Action films in decades. Car chases that rival and extend beyond Bullitt and French Connection. Violence that bursts out of the screen like a horror film or a bad dream by David Cronenberg. Passing moments of tenderness that are drawn out until you are slowly pulled into the emotional world of the protagonists.
Something so powerful, especially when it works, is the use of sharp and dramatic Camera Angles in Drive that mirror the emotional moment of the story drawing you into the characters world.
View and angles often extremely low angled and tilted sharply upward, effective at expanding the feeling of voyeurism of being at the dinner table or in the adjacent seat, right in the room with the characters while safely looking up from some shadow or nook or cranny. Very emotionally transcendent cinematography.
Night footage was amazingly successful at capturing the range of light and shadows, on a technical level the audio and video were strong and assured. Not only the first robbery but all the way through the film right up to the final resolution of the plot, the night was a familiar environment for major turns in the story (pun intended).
I will return hopefully soon to expand on this review, but I had to write something tonight because this film is ten times more badass than any Transporter or Fast and Furious fare that is usually sold in their all too obvious packaging.
Drive leaves them all in the Dust.
This filmed was viewed on the Big Screen at the LAFILMFEST screening June 17th 2011
The story follows an unnamed protagonist, played brilliantly by Ryan Gosling, who works as a stunt driver by day and a getaway driver by night. His life takes a thrilling turn as he gets involved with his beautiful neighbor, Irene, played by Carey Mulligan, and her troubled husband. The film masterfully combines elements of romance, action, and noir, captivating audiences with its emotional depth and organic character development.
One of the standout features of "Drive" is its unique pacing. The film takes its time, allowing tension to simmer before erupting into moments of breathtaking action. The minimalist dialogue further enhances the mood, drawing attention to the protagonist's internal struggles and emotions. The carefully crafted scenes of silence, punctuated by bursts of violence, create a hauntingly beautiful balance that keeps viewers entranced.
"Drive" is a work of art. Refn's direction shines through in every frame, presenting a stylized aesthetic that is both gritty and glamorous. The use of color is particularly striking, with neon hues that echo the 1980s while feeling contemporary and fresh. The cinematography captures the allure of Los Angeles, transforming the city into a character of its own.
Complementing the visuals is the film's unforgettable soundtrack, featuring an eclectic mix of synth-pop and atmospheric scores that elevate the viewing experience. Tracks like "Nightcall" by Kavinsky set the tone, making unforgettable moments even more impactful and memorable.
"Drive" is a cinematic gem that transcends traditional genre boundaries. It's a film that lingers in your mind long after the credits roll, challenging viewers to reflect on the choices we make and the lives we lead. With its exceptional direction, captivating performances, and a perfect blend of style and substance, "Drive" is undoubtedly a must-see experience for any film lover. This film is not just a ride; it's a journey into the heart of darkness and a celebration of the art of cinema.
The film is an electric mixture of beautiful, lingering cinematography, a pulsating soundtrack, lean dialogue and short bursts of graphic, bloody violence. It's tense and involving- almost impossible not to get immersed in. Nicolas Winding Refn is a Director to definitely keep a tab on.
Ryan Gosling is the embodiment of some kind of cold fire at the heart of the matter- his "Driver" character is a well-intentioned but unstoppable force that will surely end up as a cult favorite for decades to come. Carey Mulligan, Albert Brooks, Ron Perlman, Bryan Cranston, Christina Hendricks and Oscar Issac round out an excellent cast that's pretty much in support but extremely well-utilized.
Those wanting to check out a quick and disposable, mindlessly fun popcorn flick need to steer clear- this isn't what you're looking for. This is deadly-serious film-making that's damned-near perfect.
It's my favorite film of the year- Hell, it's one of my all-time top faves.
9.5 outta 10
Did you know
- TriviaAfter Ryan Gosling and Nicolas Winding Refn removed much of the Driver's dialogue, Bryan Cranston felt that his character, Shannon, should make up for the lack of talking in the film, and thus made Shannon a motormouth. Much of his dialogue is improvised.
- GoofsIn one shot, the tachometer on Driver's steering column reads 0 RPMs and none of the other gauges are reading normally for driving. This is likely due to the vehicle being towed on a dolly. The tachometer can be seen working in other shots.
- 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.
- Alternate versionsThe preview version of the movie has slightly different dialogue in the telephone conversation between Bernie Rose and Driver preceding the meeting at the Great Wall restaurant. Regular theatrical cut Driver: [to Bernie] You know the story about the scorpion and the frog? Your friend Nino didn't make it across the river. Preview version Bernie Rose: Where's Nino? Driver: He's Gone. The reference to the story about the scorpion and the frog was left out of the preview version.
- ConnectionsFeatured in Ebert Presents: At the Movies: Episode #1.19 (2011)
- SoundtracksTick of the Clock
Written by Johnny Jewel
Performed by Chromatics (as The Chromatics)
Courtesy of Italians Do It Better Records
Details
- Release date
- Country of origin
- Official sites
- Languages
- Also known as
- Drive, el escape
- Filming locations
- Point Mugu, California, USA(end of the car chase)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $15,000,000 (estimated)
- Gross US & Canada
- $35,061,555
- Opening weekend US & Canada
- $11,340,461
- Sep 18, 2011
- Gross worldwide
- $79,676,262
- Runtime1 hour 40 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1