This guy would make a killing at delivering pizzas.
Driver (Ryan Gosling), a Hollywood stuntman who moonlights as a getaway driver, is lured from his isolated life by a lovely neighbor (Carey Mulligan) and her young son. His newfound peace is shattered, however, when her violent husband is released from prison.
The weird thing about Drive is how this is being advertised as a slam-bang, action thriller with a Fast & Furious look of cars. But that is far from the truth.
Director Nicolas Winding Refn (Bronson) has a great knack for making incredibly bloody films, seem so beautiful. The film reminded me of an 80’s noir with it’s synth-crazy score, the hot pink title cards, and even the colorful as well as gritty look of the under-belly of LA that had me reminded of a Michael Mann film. There are some real great scenes where Refn brings out this very dark mood within the material with the way he films and the way he makes it all sound.
The problem with his direction is that I feel like too many times he doesn’t let the story tell itself at all, and just wants to basically remind people that he’s the one directing here and every shot is shot with his artsy-fartsy trademark. This didn’t bother me that much but when you have a script like this it really does get annoying after awhile.
I thought that the script had its moments where it truly wreaked in awesomeness but then other times, I just felt bored and bothered by what this film was doing. Almost every scene where these characters talk to each other is just filled with some awkward pauses and very slow responses that would have any person trying to leave the conversation as soon as possible. About the third time that I heard Gosling breath and Mulligan sigh, I just about had it about up to here with it, and relied on the action for my entertainment.
Oh wait, there’s barely any of that either. The action here is very short but done so well because of the way Refn creates the tension and keeps the bloodiness packing on up. He also adds this extra colorful flair to every scene, so when some guy is getting his head smashed in, not only is it bloody, but it’s also bright and colorful. This I liked and even though there’s only 2, that’s right, 2 car chases, I still liked them.
However, my problem lies within the fact that I just wish they actually gave us more of the awesome action rather than focus on these boring and awkward conversations that didn’t make me laugh, or really feel any more of an emotional connection to the story, it just annoyed me. I can see why Refn wanted to focus more on the story and visual flair rather than the action but when you got some writing that’s as boring as this is, you start to get pretty annoyed.
The real reason to see this film though is indeed, Ryan Gosling, aka one of my top man-crushes. Gosling plays The Driver and is quiet, calm, and relaxed throughout the majority of the film, but when it comes to him flipping shit, I was totally scared in all the right ways. Gosling plays both sides of this character believably well so you believe the subtlety that he has and the physical anger he projects from his character. I mean I was intimidated by Gosling here and every scene he is in, he uses that look on his face and his body language to convey a sense that his character is feeling every scene and it works so well. My man is on a roll!
The rest of the cast is also pretty good too. Carey Mulligan is good as the sweet Irene, although I think her and Gosling could have really projected some great screen chemistry given the right material; Bryan Cranston is gritty in his role as Shannon, the guy who brings Gosling into the world of crime; Ron Perlman is entertaining to watch as Nino the Jew, and I know this because they call him the name about 12 times; and Oscar Issac and Christina Hendricks have some pretty good “blink or you miss em” performances here as well. Albert Brooks as Bernie Ross is probably the most surprising of the whole cast because he has a presence that’s so powerful and ruthless that you actually can believe him as this violent mobster, rather than the voice of Marlon.
Consensus: Drive has moments where it absolutely works with it’s stylish direction from Nicolas Winding Refn, great performances from the cast, especially Gosling, and some bloody and thrilling flashes of violence, but too much of it feels slow and features conversations that are more boring than one you would have with a wall.