Drive (Nicolas Winding Refn, 2011)

[Finch]

For once, a trailer that doesn't appear completely clueless (still getting shudders from the horrible marketing for Source Code!) - was going to see Drive anyways but all the more so now after this trailer.

[Kellen]

Amazing trailer! I was already looking forward to seeing this but my anticipation is even higher now.

[Mr. Ned]

I've watched this at least half a dozen times now, completely enamored. I didn't think Refn had this kind of film in him after how much I loathed Bronson and Valhalla Rising. Looks like a cool and colorful LA noir, as sun-soaked as To Live and Die in LA or Point Blank; can't wait!

[John Cope]

Perfect.

[matrixschmatrix]

Haha, if I didn't know better, I'd think that was a poster for softcore gay porn

[John Cope]

So you're saying they've made the marketing challenging for themselves?

[zedz]

Meh. This looks like it's going to be the most over-hyped film of the year. The opening sequence is magnificent, but the rest of the film never delivers on its promise, opting instead for a self-importantly lugubrious rendition (why show any minor action normally when you can show it in slo-mo?) of a pretty thin comic book story and characters. And unfortunately, we're talking sentimental / pseudo-deep 'gwaphic novel' comic book, not breezy, action-packed comic book. The torpor is punctuated by moments of extreme gore targetted at the fanboys, but I can't imagine they'd be particularly satisfied by the rather constrained action sequences, swamped as they are by long stretches of moody gazing.

The actors do their best with the very thin material - though everybody involved seems to think that simply casting Albert Brooks against type is stunt enough to keep his character afloat - and it's sort of interesting in an abstract way seeing how the film goes about trying to construct Ryan Gosling as Steve McQueen redux. But these are pretty meagre pleasures.

[mfunk9786]

I loved the hell out of this film. This was my first Refn picture, so I can't speak for where he repeats himself or breaks away from form, but I found a lot to love in the poetry of the way this Taxi Driver meets Le Samourai meets Punch-Drunk Love piece of cinema came together. In withholding too much detail of the life of the main character, and keeping dialogue at a minimum, Refn manages to create a bit of a contradictory piece of work. It's a crime film that isn't really about crime at all. It's a love story that isn't all that much about love - a character study with a main character who is an enigma - a superhero without a cape or a backstory. It's these contradictions that help to weave together what could have been a series of mere vignettes into a living, breathing film with high stakes but few lengths taken to try to verbally explain just how, or why, the stakes are so high. The violence is visceral and somewhat shocking when it occurs, and the driving setpieces - both the one that opens the film and the high-speed chase, are something to behold. But what really ties the film together is Ryan Gosling - in a role that could very well get him his first Oscar, saying very little and never revealing his hand as to what he really wants or needs out of life - just playing the part of a person who aims to do good, even when he's doing bad. His performance is ablaze with intensity, drawing red-blooded rage out of places that normal people never even consider might exist. He speaks volumes with his eyes, even in long, wordless conversations with Carey Mulligan or full-out violent confrontations during which most actors would merely let their macho flag fly without even considering what emotion they might be conveying. Combined with Refn's visually dazzling work, his performance is immediately iconic, and if the film catches on, expect it to be considered up there with the all-time great action lead performances. It's certainly one of the best action films I've seen in years, and I'd recommend it to anyone who might be on the fence about it.

[Tom Hagen]

My man crush on Ryan Gosling knows no bounds. Cool, existentialist crime films are my favorite genre. I almost don't want to see this because there's no way it could live up to my expectations.

[LQ]

I too am in love with this film. The balance struck between the lush stillness of Gosling & Mulligan's interludes, ambient night driving... and the dizzyingly fast car chases and salvos of violence was something quite perfect. Zedz objected to the use of slo-mo, and usually I chafe at it too, but I really felt it was used to its utmost potential here in drawing us into beautiful moments of emotional stability. Its a very sophisticated, gorgeous take on the action genre. And yeah, Ryan Gosling is as amazing as mfunk makes him out to be.

[Jean-Luc Garbo]

How was the music in the film? I watched Bronson last week and was very pleased by his choices (Scott Walker, New Order) there.

[LQ]

The music is stupendous. At the special screening mfunk and I attended Refn talked about how Drive came to be, which was really quite a funny anecdote about meeting Ryan Gosling for dinner to talk about the initial script of the movie while completely cracked out on medication, and asking him for a ride home, during which the awkward silence that descended over them was broken when Gosling turned on the radio to a soft rock station. Refn started to...cry...and finally came to an epiphany about the core of Gosling's character, a guy who experiences emotional catharsis by driving on empty highways at night listening to soft rock. Needless to say the soundtrack was meticulously chosen to provide this emotional catharsis throughout the movie, and harmoniously fit the cinematography and tone of the film.

As someone who intensely relishes driving at night, windows down, with soft, synthesized music ribboning through the wind, this was a concept that I very much appreciated The last shot of the film sends it home in a transcendental way.

[Tom Hagen]

If he hasn't put any M83 on the soundtrack yet, I demand a re-edit!

[Jean-Luc Garbo]

Thanks, LQ. This is very encouraging. I just found the soundtrack here on Amazon and holy shit they use "Under Your Spell" by Desire. Does anyone else know this song? How is it used in the movie? Chromatics are here as well. Anyone who hasn't heard their album IV (aka Night Drive) is highly encouraged to do so. ("Tick of the Clock" is from that album so there's your sample taste!) If only for the Kate Bush cover, although the whole album is great as car music. I'm really looking forward to the movie now.

[Tom Hagen]

Okay, while nowhere as good as the best of M83, "A Real Hero" gets at exactly what I was thinking. Good work, Refn.

[John Cope]

Refn is always so good, so reliable when it comes to scoring. The Peter Kyed and Peter Peter score to Valhalla Rising and the Eno score to Fear X are superb ambient and sensitively implemeted film music.

As to Gosling's own sensitivity, it's what makes him great; one of a long line of fine, similarly tuned performers (Brando, Dean, Clift, Rourke, Farrell, et al.).

[MyNameCriterionForum]

Boy, I hated Valhalla Rising while I was watching it, but boy, it has really stuck in my mind, months later. I need to revisit it.

I don't get the sense that he's an essential, vital artist, but who of this generation is? Still, he's a pretty great stylist.

And I know this is totally the wrong thread for this, but unless someone want's to start a new one for the next-next Malick film.... but Gosling has apparently signed on for the Malick/Christian Bale flick recently announced. I love Gosling, I love Malick, should be interesting. I just REALLY hope it's not that dumb Jerry Lee Lewis film, ugh.

[mfunk9786]

This is definitely the wrong thread. We have a "New Films in Production" thread if you want to talk new Malick.

[prokosch]

Thanks, LQ. This is very encouraging. I just found the soundtrack here on Amazon and holy shit

Holy shit indeed. So excited about this film and SO EXCITED about this soundtrack, from about the moment I read in an interview with Refn that he felt Kavinsky's "Nightcall" was perfect for the opening credits (not sure if that placement stuck but whatever, it's on the soundtrack). That Desire track is amazing, Chromatics are amazing, Martinez is amazing. I think we all saw where this was going when he used Glass Candy in Bronson, amirite?

Visually, that single shot in the trailer of Gosling looking through the front door of a restaurant or something with that mask on was the biggest one-shot deal-closer for my ambition to see a new movie in years. All of this is to say that I'll be supremely pissed if the film turns out to be a disappointment.

[prokosch]

Taxi Driver meets Le Samourai meets Punch-Drunk Love

[MyNameCriterionForum]

This is definitely the wrong thread. We have a "New Films in Production" thread if you want to talk new Malick.

Well excuse me, your highness, I'm aware of that... but since the film isn't actually IN PRODUCTION yet, I didn't want to get drummed to death by preening pedants over there. Do we have a general news or casting thread? Or, on the other hand, who cares.

[mfunk9786]

I was just answering you since you asked - that the thread for another film isn't the place to discuss a film by another filmmaker that hasn't been made yet.

Taxi Driver meets Le Samourai meets Punch-Drunk Love

I stand by it.

[prokosch]

Taxi Driver meets Le Samourai meets Punch-Drunk Love

I stand by it.

That's a frighteningly exciting statement.

[nosy lena]

remake of THE DRIVER?

[mfunk9786]

No.