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
Albert Brooks was in character when he met Nicolas Winding Refn, pinning him against a wall and speaking in a threatening manner. Brooks shaved his eyebrows for his role to make his character more emotionless. See more »
During the car chase after the pawn shop robbery they drive towards a silver Ford Focus which honks its horn. When they pass the car it turns out to be a blue Toyota Corolla. 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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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 »
One reviewer here suggested that instead of seeing Drive you should see what Drive was aspiring to be Layer Cake. Drive is nothing like Layer Cake nor even tries to be. They have nothing in common, and the comment is just absurd. It is a far far better film though. From it's title sequence written in cursive pink (which a ton of idiots just did not get for some reason) to it's retro soundtrack. It is a picture perfect reflection of the films from the late 60's, 70's and 80's. If you have not seen films from this era (i do believe so many reviewers here have not) you will not entirely get this film.
This is a man with no name film. Instead of horses and cowboys we get fast muscle cars and ruthless gangsters. Our hero is a man with no name. He is also a man of very few words that can break out into fits of extreme violence at any moment to protect those he cares about. We get no back story to our hero just like the Eastwood pictures, which makes the film even more effective. He is not your typical Vin Diesel blabbering idiot action hero. He is an old fashioned action hero. Too many here did not understand this, and decided this was bad acting/directing. It is far better to imagine what Gosslings character has done to arrive at this point, than to be shown in some cheesy flash back sequence. Albert Brooks (who is just fantastic as usual), Ron Pearlman, and Bryan Cranston all provide nice contrast to our quiet hero.
Another reviewer here stated there was no explanation for the second car at the pawn shop. Well there was. I will not give it away here, but you will find the answer in the motel sequence. The violence has also been hated on here, but it is just part of the world he lives in. The fact that he can be just as cruel as the gangsters adds to the mystery of his character.
Not one negative review is credible. Unless you were raised on Transformer and Fast and Furious pictures. Then I guess you would need more CG, louder music, and bad duologue so you could understand the film easier. Or maybe you just need more imaginary computerized cars doing spectacular things on screen to hold your attention. The fact is this is a fantastic film, filled with great performances, and some of the best chase sequences since bullet. Be smart see films that matter.
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