This action drama follows 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
Consistent with Nicolas Winding Refn's usual visual style, wide-angle lenses were heavily used by cinematographer Newton Thomas Sigel. Handheld camerawork was avoided. Preferring to keep the film more "grounded" and authentic, he also avoided use of computer-generated imagery (CGI). Inability to afford CGI due to budgeting restrictions also played a factor in this decision. See more »
After being beaten up, the character 'Standard' has a large gash on the left side of his head. However, when he is being driven to the pawn shop, it has disappeared. See more »
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?
Good. And you won't be able to reach me on this phone again.
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UK radio station Radio 1 created a new soundtrack for Drive with the backing of the director. The new soundtrack features new music from The 1975, Baauer, BANKS, Bastille, CHVRCHES, SBTRKT and Eric Prydz. It was broadcast on BBC3 on 30th October 2014. See more »
Violent but stylized flick promoting adultery and Hollywood stereotypes
Drive is about a couple of thugs in LA, a stuntman turned driveway driver turned brutal murderer, his limping fatherly friend, one unfaithful and confused criminal wife, virtually every one in the movie is in fact mob related and pretty cruel. They live miserable lives, and meet miserable deaths, stabbed in the eye, slashed in the wrists and hands (with artful if disg usting mobster "compassion"), slaugh tered and left to bleed out, stumped on angrily and repeatedly like a cockroach, heads blasted in minute detail, romantically drowned on the edge of the ocean, all these deaths are seen by the wicked sin-romanticizing director as an opportunity to exercise his cinematic style and hypocritical misandry, and are crafted with love and dedication of a mythical sharkopath. Despite of this gratuitous violence the protagonist thinks of him self as a hero, and that he is a hero wannabe we are reminded by some annoying music through the movie, he even leaves a million dollars behind for no logical reason but don't expect logic when you can have f-reaking-art. Just as director thinks of himself as a great master of style, and not some misanthropic self satisfied Hollywood member that vents his hatred of the world using some over the top film violence that he sells as transgressive, just as the movie was sold by a deeply misleading trailer. He failed at the box office, but his cinematographic trickery nevertheless amount to some pretty amusing shots, that people who think of themselves as f-reaking-art lovers, heroes of their own delusions, but are in fact a much emptier bunch, interpret as beautiful.
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