Gee Film Reviews

17th September 2011

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Drive - Movie Review

GRADE: A

Thirty-five years ago Martin Scorsese’s Taxi Driver defined violence’s potential to be art, in a film that fundamentally presented an uncompromised portrait of the dark side of American life. Present day, this influence can be unequivocally seen in the Nicolas Winding Refn’s Drive, a film that gained directing honors from the recent Cannes Film Festival. While it can be undoubtedly viewed as a collection of homes to other works, Refn somehow brings a chic quality to this modern noir thriller that is remarkably edgy and somehow contradictorily unique.

Drive is a film adaptation of a novel of the same name that relies on a noir type storytelling. The protagonist is the nameless driver (Ryan Gosling) - a seemingly misunderstood and isolated character that just oozes its De Niro homage - who works as a stunt man and mechanic by day, and moonlights as a getaway driver by night. After a heist goes awry, he finds himself caught up with local gangster Bernie Rose (Albert Brooks) and a pile of money that is not his.  When he realizes he is the target of Rose’s forces, he must protect himself as well as his newly founded love interest, Irene (Carey Mulligan). Overall, the plot itself can be seen as somewhat thin, as it does not have much depth or meaning; But it still provides its twists and excitement needed for the film’s punctuation on overall essence.

Everything about Drive is stunning.  With its stunning visuals and amazing style, it is an understatement to say that Drive is a cool film. The opening scene, a brilliant car chase that provides subtle exposition of what is to come, is a game changer in action films, it is one of the best action segments I have seen in any recent film.  Its tension along with its usage of limited noise creates an odd excitement that exemplifies the unpredictability of the film as a whole.  Moreover, the style is remarkable. Stylistically caught between the influence of John Hughes and Tarantino’s ”Pulp Fiction,” Drive perfectly blends the essence of the B-Style genre and 80s idiosyncrasies, with a full emphasis of excessive comical gore. With its share of gunfights, gaudy head shots, the film handles its over the top violence with an arthouse twist; it presents it with a reserved feeling that is both engrossing and of finesse. Drive gives a sense of brutality that tosses its audience in an emotional thrill ride while also portraying it as a work of art.

Overall, the acting ensemble that supports this film is considerably strong. Gosling - who is trying to make a mark this award season (see Ides of March) - whose character is in a manner of brooding throughout, gives an subtle emotional performance that takes the audience to the dark core of the film. Brooks plays a somewhat cliche role of a money hungry mobster, but perfectly nails his villainous role. My only minor complaint: Carey Mulligan’s cast as the love interest. Being a fan of Mulligan myself, the elegant and petite actress is simply out of place as the wife of a Latino convict.

With immaculate style and a terrific performance by Gosling, Drive is a contemporary masterpiece. Overall a conglomerate of directorial influence, Refn presents a film that redefines action in arthouse as a whole; displaying violence as a form of art by fully punctuating its stylistic elements. Directed with a passionate force, Drive is able to grab a thin plot, and take it to the next level of “cool” cinema.

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