These scenes just don't fit in the movie. Maybe he should have also applied for a school bus driver position so his sensitive side appear more clear to us and soften our dull old hearts. This is a man with no name film. I think the director has managed to balance a genuine artistry with the demands of the genre in a way that is rarely, if ever, achieved. Our hero gets more than he bargained for when he meets the man who is married to the woman he loves.
Instead of horses and cowboys we get fast muscle cars and ruthless gangsters. 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. I honestly cannot compare it to any other film, for it is truly that different. Quiet moments stretch into suffocating silence, and the explosive violence that inevitably shatters it practically tears the frame in half. Nicolas Winding Refn's Drive is an anomaly. Broken skulls, throats cut, blood everywhere all of a sudden. Albert Brooks plays against type as a cutthroat crime lord, and a note-perfect Ron Perlman plays his meathead partner.
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. Drive is not a sexy film. And what's with all that violence? He is an old fashioned action hero. Visually the film is lush and gorgeous. It is a far far better film though.
Her fragile character's relationship with the driver is subtle and nuanced in a manner atypical of thriller convention. Driver has a tone of wry amusement at everything around it, much like Gosling's half-smirk, pivoted on the toothpick perpetually in the corner of his mouth. When I got out of the cinema the other night I was outraged. While an ethereal synthesizer-pop soundtrack provides an at-times tender,at-times mythic undercurrent, the car chases and action scenes, when they come, are tense, brutal and brief- far more Eastern Promises than The Transporter. 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 so, I was extremely curious to see what Refn would do with the material, and whether he would be able to rein in his sometimes obtrusive style in order to allow the story more room to breathe. The music only makes this film more unique.
Our hero gets more than he bargained for when he meets the man who is married to the woman he loves. Every line is delivered perfectly and every gesture is natural. He's silent, caring, and ridiculously tough. In truth, Drive isn't pervasively violent, though its most excruciatingly effective moments leave a memory trail like tire streaks on a sunbaked highway. But hey, he is a mechanic, part time stunt driver, part time get-away driver.
A friendly, fatherly figure to his neighbor Carey Mulligan and her young son, he's decidedly less so when the two are threatened. 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. A sort of oblique, ultraviolent superhero, the driver leaps to defend the innocent with bloody determination. He joins forces with Piper, a sexy, tough-as-nails waitress with a 69 Charger, who's also seeking redemption of her own. 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.
A man of few words but who looks smarter than anybody else. Despite its absolute craftsmanship, Driver is probably not for everybody, which makes me sad. People who prefer bald-headed muscle men slugging and wise-cracking their way into their wallets should of course stay away, as this bears very little resemblance to the standard Hollywood fare associated with the genre, and they might well be disappointed. He is not your typical Vin Diesel blabbering idiot action hero. The violence has also been hated on here, but it is just part of the world he lives in. 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. In three days, King and his followers will sacrifice the child at midnight.
Or maybe you just need more imaginary computerized cars doing spectacular things on screen to hold your attention. Albert Brooks who is just fantastic as usual , Ron Pearlman, and Bryan Cranston all provide nice contrast to our quiet hero. He joins forces with Piper, a sexy, tough-as-nails waitress with a 69 Charger, who's also seeking redemption of her own. The film pins its headlights on the dark implications of unchecked obsession and good intentions gone haywire. With a budget Michael Bay might have allocated for a single effects sequence in Transformers 3, Danish director Nicolas Winding Refn made one of the best movies of the year. The rest of the small cast also impresses.
Unless, the world turns upside down. Synopsis 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. They have nothing in common, and the comment is just absurd. Our hero is a man with no name. And it's one of the best movies of 2011.