Drive
To celebrate the new beginnings and new starts of the website, I’m going to go back to last year and completely explain my love for a movie that just didn’t get the recognition it deserved. Because hey, retro is always cool (if 2011 is retro and I say it is!)
Drive. If you have never watched the super slick thriller than I suggest you go down to your local DVD place now to rent or buy it.
Drive stars Ryan Gosling as an unknown driver who works as a stunt driver for Hollywood blockbuster and a mechanic at a local garage with Shannon (Bryan Cranston). But when the L.A. underbelly comes out at night, he moonlights as a getaway driver for criminals everywhere. After lowly neighbour Irene catches his attention, he finds himself heist to protect her family. When the heist goes awry, Driver finds himself hounded by violent criminals (Albert Brooks and Ron Pearlman) in an ever escalating chase for survival in seedy L.A.
Drive is a stunning movie by director Nicolas Refn. Refn utilises the grand landscape of L.A. with breath-taking shots that pan the skyline of Los Angeles. The film opens with such a smooth silky driving sequence that you are instantly sucked into this world. At the most, it’s a car chase but it removes all clichés of screeching tyres, siren blaring and gun fires. Instead, Drive keeps the action coveted in the shadows and sets the tone for the rest of the movie. This is a thrilling piece that will pump your heartbeat and build it slowly, without screaming at you.
He directs this with seeming ease, he brings terror into the daylight and intertwines scene impeccably as the film flows. The jarring violence (and yes, there are some brutal moments) provokes the reaction necessary. There isn’t any cheers as a Tarantino movie would entice. Instead, Refn uses violence in a shocking way, causing emotions to stir because it is damn near real.
And the acting is just top of the class. Ryan Gosling, despite his stud accolades from lady fans, is a really brilliant actor. Ok, so he may a little too serious for some people but in Drive, it works. He as few lines but invokes such a drama into his role that it is impossible to keep your eyes off him. And he isn’t alone, Cranston is, as usual, at his finest and Cary Mulligan is great as the woman. Albert Brooks, who if you didn’t know was a voice in Finding Nemo, does a genius turn as crime lord Bernie (for which he won many accolades.)
Drive was five out of five and whilst critics hailed it as a triumph, (it received a standing ovation by Cannes) it didn’t exactly set ripples through the crowds and despite a few weeks of box office success (ish,) it faded from manymemories. This well produced piece of action thriller disappeared from peoples thoughts including the Oscar panel who credited The Artist (a novelty movie at best) with accolades here and there. While we shouldn’t be bitter at this, Drive is just an outstanding piece of work right down to the well picked soundtrack. It entices and delivers more than most movies and for that, you should invest in it.
TTFN
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