Drive (2011)

Featured Audience Ratings

• Jack H

  
  When I got home after a long drive from the cinema, I wasn't entirely sure why 'Drive' was getting the praise it was getting. Coincidentally, I had travelled up to North London to pick up a new car. As my local area's cinema coverage is poor, the only place I could… More
  When I got home after a long drive from the cinema, I wasn't entirely sure why 'Drive' was getting the praise it was getting. Coincidentally, I had travelled up to North London to pick up a new car. As my local area's cinema coverage is poor, the only place I could catch 'Drive' was in London. The plan was to pick up the car, find my way onto the M25 and see an afternoon screening in Romford, Essex. Unfortunately, this proved to be a minefield of stress, Romford was packed full of people and cars, I was sure that I'd miss the screening, but I'd got far enough into Romford for me to persevere. I got there just in time, but it was these conditions that led me to make one of the biggest misjudgements in my film watching history... I was attracted to the style of 'Drive', but more, perhaps macabrely, to the supposed violence of it. The film is spattered with torrents of claret, stark shankings and devastating gunshot wounds; there's also a spot of stomping. The film dishes out violence as it is, ugly and nasty. The film started strongly, Gosling was convincing and intimidating, and he remains that way throughout the film, but surely playing the strong silent type is easy money? 'Strong silent type' is something of an understatement, the man is utterly devoid of conversational skills, only when he is working or amidst the drama of the latter half of the film does he fire up. Gosling is reminiscent of Clint Eastwood's iconic anti-hero roles; but I also made a connection with Dustin Hoffman's performance in 'Rain Main'. It's this extremity that perhaps makes his relationship with Irene (Carey Mulligan) slightly implausible (some of their interactions are stupidly painful). Despite this, I think the Driver's growing intensity and his dexterity in violence is gripping; Gosling really nailed it. There is one thing I find utterly unacceptable however, the fact that Gosling chews on a toothpick, please spare us from such unrealistic clichés; Mulligan's character would've laughed in his posey face in reality! After my first viewing I was really quite ambivalent about 'Drive'. "The film wasn't bad" I thought, "I'm glad that I saw it". I liked the exciting and somewhat smart and fresh car chase in the introduction; I liked the mood of the film. For the most part, I felt it was the prior knowledge of the film's uncompromising nature that created the sombre, moody atmosphere. It was also the fitting, bass heavy electronic soundtrack that complimented the night sequences. But I left the cinema feeling somewhat hollow; I was preoccupied with how I was going to navigate the M25 and the Dartford Crossing. Despite the film having lack of depth and a meagre ending; its unforgiving nature made the film stay under my skin. It made me think that perhaps a second viewing would change my opinion, but on first viewing I couldn't agree with its surprisingly positive reviews, and certainly not with the current 'tomato meter' of 93%. I was surprised at how the film was actually being complimented for being vacuous, "How has it managed that?" I thought. After coming to the conclusion that perhaps a second viewing was necessary, I did just that a few months later, and I preferred it, quite a lot in fact. I suppose I knew what to expect, so I made the most of it, lapping up its style and visceral edge. How on earth did the film possibly make a white padded jacket with a yellow scorpion on the back cool? Oh and the driving gloves, they just reek of cool, oh and that black roaring Ford Mustang... I am so impressionable. It got my heart pumping like few other films had accomplished; I really couldn't believe how the film had grown on me. I vehemently disagree with the supposed 'subtexts' some people have mentioned. I have read condescending statements on how viewers should 'look closer' to 'understand' the film; pompous nonsense from pseudo-intellectuals. Ultimately, though, like so many films, especially those that fall into the revenge/retribution format (think Death Wish/Taxi Driver), they're good until the last stanza, they're hard to wrap up. But I even preferred the ending on second viewing, it leaves unanswered questions; out of the ways they could've ended it, this was probably the most appropriate choice. Drive is an engrossing, genuinely nail-biting film. Though it is a trifle superficial, it's guaranteed to thrill you.

• Albert K

  
  Note: Do NOT watch the trailer before watching "Drive"; it'll ruin the entire experience. Read nothing about the synopsis. Do your best to not know a thing about the movie. So, much like my other reviews, this review is gonna be devoid of any information regarding the… More
  Note: Do NOT watch the trailer before watching "Drive"; it'll ruin the entire experience. Read nothing about the synopsis. Do your best to not know a thing about the movie. So, much like my other reviews, this review is gonna be devoid of any information regarding the narrative. "Drive" is a patient but thriller that grips you throughout the entire experience. An incredibly stylish and riveting movie. For my first viewing, I thought that the movie began to wear off because I believed that it never managed to innovate passed its prologue in terms of style and plot. Boy, was I WRONG. "Drive" consistently delivers striking, multilayered cinematography and sublime action scenes to make this one of the most memorable action art-house thrillers I've seen in an extremely long time. The beginning scene is perfect. Definitely one of the best intros to an action film this year. It's smart, gripping, and brimming with a very cool style. It got me so invested into the movie that it pumped me up and got me anticipated for what would happen next. I was ready to sit through a great movie that would be remembered for a long time. And sadly, this wasn't the case... THE FIRST TIME I watched it. What was I thinking? Oh man, does "Drive" deliver. "Drive" tries to pull off a very 80's style -- the music, the costumes, the font... but it's not an 80's movie. This isn't to particularly say that this it failed to impress because clearly, "Drive"'s intently focused on delivering a riveting film that exudes an esoteric, magical quality. Now, there are two different responses from movies that run off of a cliche plot: 1) We feel like it is super repetitive and dull 2) Though it is predictable, we can't manage but be enthralled due to a deft movie package. The latter is what "Drive" is. Though it is predictable, it manages to be an impeccable, exquisite film at the top of its rank. There's some incredibly rich lighting and vibrantly dynamic cinematography that exudes a richly mystic quality, sharing about the importance of humanity; there's some deep camerawork going on in this piece! The pacing is patient and refreshingly quiet which accentuates the tension. Unfortunately, the acting is dwindles between great and decent. There's a particular scene that Ryan Gosling shares with Carey Mulligan that really questioned the acting talent. I've seen enough films to understand when there are long pauses between dialogue to heighten and accentuate the atmosphere and emotions of the scene but it was not coupled with enough acting talent to upbuild the scene (it just seemed like in between their lines, they were smirking at each other by how awkward they felt). That's not to condemn Gosling or Mulligan -- I think they're great actors, but it doesn't take a genius to feel the tension of awkwardness in that particular scene. "Drive" is a methodical, meticulously well-crafted thriller that delivers tension, thrills, and profound themes through its slow but patiently rewarding pacing, all coupled with a luscious and rich art-house style. This is a must watch.

• Daniel J D

  
  What could've been a near-excellent film is often dragged down by its over-loud neo-80s soundtrack which effectively castrates some of the film's most powerful scenes, especially when combined with the occasional slow-motion or Gosling's… More
  What could've been a near-excellent film is often dragged down by its over-loud neo-80s soundtrack which effectively castrates some of the film's most powerful scenes, especially when combined with the occasional slow-motion or Gosling's hi-I'm-an-otherwise-mild-mannered-vigilante-psychopath vibe. That said, leading up to the second-to-last death in the movie when the music switches to a more orchestral sound, it proves much more effective, if relatively derivative, if for no other reason than that it no longer relies so heavily on the pseudo-80s sound. Moreover, Gosling may not have been fully up to the task, but casting-wise, Refn could've done far worse as Gosling puts up a rather valiant effort. And that's basically where the film's weaknesses end.

• Matthew S

  
  Subtle, honest, distinct. Like a good western, our driver's quiet nature allows for surprise in each preceding scene. I don't want to elaborate for fear of ruining someone's adventure into this character. "Drive" is the kind of movie I imagine a zen-state… More
  Subtle, honest, distinct. Like a good western, our driver's quiet nature allows for surprise in each preceding scene. I don't want to elaborate for fear of ruining someone's adventure into this character. "Drive" is the kind of movie I imagine a zen-state Quentin Tarantino creating after a 10 year spiritual journey into the heart of man and nature.

• Eric S

  
  Not the most scintillating film, but there are some interesting action sequences here, primarily involving car chases. By no means of the"Bullit" caliber, but watchable nevertheless. A film that can be a bit slow at times, but then something you wouldn't expect happens… More
  Not the most scintillating film, but there are some interesting action sequences here, primarily involving car chases. By no means of the"Bullit" caliber, but watchable nevertheless. A film that can be a bit slow at times, but then something you wouldn't expect happens which kind of peaked my interest. The mood of the film is helped by a somewhat quiet score, then it can go in the opposite direction giving a feeling of not being here nor there. Ryan Gosling stars as a stunt driver who divides his time between jobs on a movie set and being the driver for a heist of some sort. As one may suspect from this kind of work, things go awry for his ex-convict friend's attempt to pay off his protection money leaving Driver with more to deal with than a clever maneuver in a car.

• Chris W

  
  This film is a very slick and awesome conscious mix of contemporary and retro aesthetics and stylization, and, even though I'd prefer the decade for the retro callbacks to be the 70s instead of the 80s, this is still a wonderfully art directed (and artsy) action film. Instead of… More
  This film is a very slick and awesome conscious mix of contemporary and retro aesthetics and stylization, and, even though I'd prefer the decade for the retro callbacks to be the 70s instead of the 80s, this is still a wonderfully art directed (and artsy) action film. Instead of taking a page from stuff like The Fast and the Furious, this is a car movie that, as I mentioned, goes for a far more retro look and feel, yet still throws in plenty of modern sensibilities. It's an action movie, but it's also very artsy, a tad pretentious, and the sort of action film that people would normally hate action movies can get into and enjoy. In a way, this is a very philosopical film that really grooves on existentialism, mystery, and ambiguity. Our lead is a guy credited simply as Driver, but also referred to as Kid. We don't know his real name, or really all that much about him, aside from surface details. He works in a garage, does part time work as a Hollywood stunt driver, and spends his nights moonlighting as a getaway driver for hire for any criminal that wants him. He really doesn't say much, but as they say, actions speak louder than words..and whe nhe gets into some nasty business with the mob after a job gone wrong, his responses really get nuts. Mostly that has to do with his neighborlady (and prospective love interest) getting targeted too, something that Driver just can't stand for, especially since she's an innocent. So yeah, this film has a very simple, familiar basic premise, and there's not much in the way of character development or heavy , heavy plot, so it's mostly all about the fun stuff like the action and the stunts. What''s funny thoguh, is that the film isn't wall to wall action. When we do get bursts of violence though, they come swiftly, unexpectedly, and things get rather graphic and shocking at times. Where the film puts almost all of its focus then is on mood, tone, and atmosphere, and, if you dig ambience, then this film will definitely satisfy. The cinematography, music, editing, and all of that is just gorgeous, and the costumes (all hail cool gloves and jackets) rock, as do the cars. The film is sorta deep in a very ponderous way, but I enjoyed it. It's probably not really as deep as it wants you to think it is, mostly because it is very vague, and the dialogue is quite sparse at times, but hey, sometimes it's okay to just loosen up and let things flow, even if not a long happens (until the sudden bits of violence from time to time). If the film had spent some more time giving insight into the characters, and really developing them a lot more, then I'd definitely bump this up to a full 5. As it stands though, I just can't quite do that. I do dig the performances here. Gosling is definitely starting to eclipse Depp as the epitome of cool, and there's nothing wrong with that. He's a bad ass, even if his lonely and mysterious ways can sometimes be frustrating. Carey Mulligan is nice as Driver's neighbor/potential love Irene, even if she does spend most of her time looking at him longingly without saying a word. Oscar Isaac is good in his role as an ex-con who decides to play the part atypically. Bryan Cranston also delivers solid work as always as Driver's main business associate. The villains though are where the film gets juicy. Perlman of course is stellar, but yes, as tons of people have already stated many times before, this film features an excellent villainous turn from funny man Albert Brooks. He's played baddies before, but this is the first time he's played one that was legitimately scary, intense, and intimidating. Damn the Oscars for snubbing him, because he's brilliant. Blah, blah, blah. You should have picked up on how I feel about this film at this point. It's awesome. Go see it. It's not a perfectly brilliant piece of work, but I definitely do think it lives up to the hype.

• Joseph M

  
  The first 15 minutes of this film is the best opening for a movie this year. Drive is a slow burning movie but when it get's going you can't look away. The Film looks brilliant and has a nice retro look about it, the acting is Solid and the directing is fine. Probably… More
  The first 15 minutes of this film is the best opening for a movie this year. Drive is a slow burning movie but when it get's going you can't look away. The Film looks brilliant and has a nice retro look about it, the acting is Solid and the directing is fine. Probably Drive's best scenes are the Bloody, brutal Violent one's. Drive may be slow and inpatient but when it reach's full throttle it's unbearably good!

• ♥˩ƳИИ &

  
  Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman Director: Nicolas Winding Refn Summary: A Hollywood stuntman who moonlights as a getaway driver is lured from his isolated life by a lovely neighbor and her young son.… More
  Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman Director: Nicolas Winding Refn Summary: A Hollywood stuntman who moonlights as a getaway driver is lured from his isolated life by a lovely neighbor and her young son. His newfound peace is shattered, however, when her violent husband is released from prison. My Thoughts: "Well the hype was definitely worth it for this movie. I really loved it. The acting, the directing, even the gore of it all. It really has everything a good thriller needs: love, murder, gangsters, police chases, car chases, and some bloody good fights. The soundtrack was awesome as well. It's always nice when you get a good feeling about an actor like I did with Ryan Gosling, to see them do such fantastic work and finally start getting recognized for the talent they have. He was so great in this movie. I also love Carey Mulligan. She is another actress that will do big things. She is very talented. Drive has great twists an turns, if you haven't seen it yet then put on your list."

• Aditya G

  
  When you finally get your hands on a film that has managed to win laurels from all around you, you know your expectations are high. "Drive" was one of the year's biggest Oscar snubs for unknown reasons, being nominated (deservedly too) in the sole category of "Best… More
  When you finally get your hands on a film that has managed to win laurels from all around you, you know your expectations are high. "Drive" was one of the year's biggest Oscar snubs for unknown reasons, being nominated (deservedly too) in the sole category of "Best Achievement in Sound Editing". That is just one of the many great qualities of this film though. The protagonist (Ryan Gosling) is a silent, brooding tough guy known only as the "Driver" or "kid" as some of them call him. He is a part time mechanic in a garage, a part time stuntman for some action films and also moonlights as a driver on hire for driving getaway cars for robbers/hoods who want to pull off a heist and also have a quick means of escape. Circumstance gets him involved with a cute looking Irene (Carey Mulligan) who has a little kid for her to take care of and a husband (Oscar Isaac) doing time in prison. No points for guessing that there is instant bonding between the Driver and Irene and her kid. The Driver takes care of them for a while...takes them on joyrides, gives company to the kid and the mother once in a while, among other things. But beyond this cliché of an accessory to crime possessing a heart of gold reserved for the cute married woman with a kid there is a lot going on between the driver's friend and employer, Shannon (Bryan Cranston), and a mobster named Bernie Rose (Albert Brooks) and his partner, a Jewish gangster by the name of Nino (Ron Perlman). The plot thickens when certain events connect the Driver directly with this pair of gangsters and also Irene's husband Standard who suddenly returns..... [img]https://lh5.googleusercontent.com/-S9PU0g0nGCk/TzdikPC9_jI/AAAAAAAACJ8/LKJd-2QHzuE/s672/vlcsnap-2012-02-09-19h51m23s233.jpg[/img] The story is best left for the viewer to unravel but rest assured, this film goes far beyond the plot. Firstly, it serves as a rather intimate character portrait of the protagonist whose roots are unknown, who seems like a rather cold and distant individual, a socially inept loner who exhibits least remorse when it comes to doing something not particularly ethical, yet one who also possesses a heart of gold...for those who deserve it of course. Others get a taste of his ultra-violent side! All of the scenes revolving around the Driver are very well-written and capable of giving us a satisfying picture of this mysterious individual and also manage to catch us by surprise at several instances. Particularly noteworthy is one scene in an elevator (excellent scene, brilliantly acted) and some subtly clever scenes like the one when Irene's husband Standard (Oscar Isaac) is sharing a light moment when he and Irene met for the first time, with his son and with the driver. The expressions on the faces of both Irene and the Driver are priceless! Or that scene when the Driver and Irene's son are watching something on TV and the son calls the shark a "bad guy". "There are no good sharks?", The Driver asks. Superb moments all! [img]https://lh5.googleusercontent.com/-IGk1p_9DzKI/TzdlTYU8WrI/AAAAAAAACKA/YgDgDJY0SXo/s672/vlcsnap-2012-02-12-12h37m01s135.jpg[/img] Moreover, the film excels in almost all technical aspects with flying colours. The sound design and editing as mentioned earlier is top-notch; one of the standout aspects of the film. The cinematography is beautiful; there are sometimes long slo-mo takes clubbed with a hypnotic background score that give the film a dream-like, meditative quality, oozing oodles of atmosphere. Also well-done is the electro-pop soundtrack and the placement of songs, especially the title piece ("Nightcall") that sounds like the distinctly 80s synthpop. Some have called the film 'slow' but thanks to Nicolas Winding Refn's command on the handling, his product is one of the most engrossing films I've seen in a long time. It is also refreshing to see that despite this being a film that has heists and car chases, it is made to look more like an art-house picture that slowly establishes itself and gradually builds up the viewer's mood rather than looking like a quick-cut-edited pop-corn actioner. The only thing that connects this film to the latter category are the somewhat unreal instances where our hero dodges near-fatal situations and magically survives (mostly without a scratch!) near-death experiences like dangerous car stunts and chases, sudden shotgun surprises, lone attacks in foreign territories and stab wounds! The violence is gory (also unrealistic at times), perhaps to please the gorehounds and action film buffs alike! [img]https://lh4.googleusercontent.com/-XKDhUgzX6Zw/TzdlSuFyC-I/AAAAAAAACKE/Krxh17S6ZAQ/s672/vlcsnap-2012-02-09-19h49m33s160.jpg[/img] Now, for the performances. Albert Brooks who is perhaps the best of all the supporting actors; does a marvelous job as the soft-spoken yet crooked gangster Bernie Rose. Ron Perlman, an often overlooked actor is outstanding as the scary looking Jewish mobster Nino. Carey Mulligan looks cute and is a brilliant performer as well. She has a very expressive face and uses it very aptly in some of the film's best scenes. Your heart goes all out to see her take care of the kid alone and really wish something good would happen to her. Ryan Gosling exudes coolness with a capital C with uber-confidence in the more restrained scenes of his, where he conveys a lot through his face which shifts between a brooding, intense look to a deadpan stare and then to a goofy smile, especially when he is with Irene or her kid. However, it is during the times when it is required of him to emote or exhibit outbursts that the actor feels a little ill at ease and seems to lack the spontaneity. Therefore the way he delivers some lines or the act that he displays seems a tad forced. This renders his performance somewhat inconsistent and that is where the actor loses points in an otherwise fine job of acting. Winding Refn has said that the film is a tribute to Martin Scorsese's masterpiece, "Taxi Driver". And one can instantly recognize the homage from some situations in the picture and also the overall persona of the protagonist. (And is it just a coincidence that Albert Brooks appears in that film as well as this?) While this film cannot possibly equal the Robert De Niro starrer, it is a splendid work of art on its own merits. A definite must-see and must-own. Score: 9/10.

• J P

  
  Hear me out before you start yelling at me. I hated this movie, but I have good reasons. The thing that made me watch this film in the first place was the trailer. The trailer made it seem like a fast action flick with all the car chases and kick ass violence. Even though the movie… More
  Hear me out before you start yelling at me. I hated this movie, but I have good reasons. The thing that made me watch this film in the first place was the trailer. The trailer made it seem like a fast action flick with all the car chases and kick ass violence. Even though the movie did have a couple sweet car chases and kick ass violence, it wasn't the way the trailer made it out to be. The trailer led me to believe that this was a fast paced thriller, and it was not. I tried to like this movie, but I just can't. I may attempt to watch it again, but I really don't want to. I respect the director and his artistic style and the approach he was going for, but I don't think it was executed very well. Honestly I think this movie is completely overrated and here's why: 1) Characters. There was hardly any dialogue- mostly just vacant stares between the actors. The lack of dialogue was fine with me, but then how were the characters developed? Ryan Gosling's girlfriend had NO personality. There's no denying that. She was nothing more than a face the entire movie. Then we are supposed to believe *SPOILER* Ryan Gosling and this girl are in love? I don't think so....they barely knew each other! And the audience barely knows her! I honestly did not care about any of the characters. I didn't care what happened to any of them because I didn't know them. They were all just faces and nothing more unless there was a deeper meaning which was obviously not conveyed very well. The only character I feel was developed was Ryan Gosling's character (what the fuck is even his name?!). 2) Careless mistakes. There's been some people talking about it. *SPOILER* When Ryan Gosling rams that guy's car off the edge of that cliff...Gosling's car remains unharmed and beautiful while the guy's car got totaled. How is that possible? How could a mistake like that go unnoticed by the film crew? How could a movie get a 93% if they make such amateur mistakes? Overrated! Overrated! Overrated! Then when *SPOILER* Gosling is in that car chase, he spins his car around and floors it in reverse...then while he's speeding in reverse you hear the car shift gears! Shift into what gear? He's going backwards! THEN *SPOILER* before Gosling spins his car around and goes in reverse in his 5.0 MUSTANG, the other car which is like a 300 is able to keep up with the Mustang the entire time (even when the stang is in reverse!). It was just stupid. Why didn't they pay attention to this stuff? The movie is called "DRIVE", so maybe they should've focused a little bit on the car aspect of it. 3) Execution. The movie was to build up suspense right? I hate movies that drag out scenes for longer than need be. The vacant stares and socially awkwardness in all the scenes were ridiculous. (This is just my personal preference by the way). I also didn't like the excessive slow motion effect. I think slow motion works really good in moderation, but this movie went overboard. Everything was in slow motion- and because of this nothing was emphasized or stood out to me. That's what the slow motion was used for in this movie right? The director wanted us to get caught in the moment like the characters and feel some suspense/thrill? Yeah, that didn't work for me. 4) Music. I heard a lot of people either love the soundtrack or hate it. I hated it. I know the director was trying to use the music to convey what the characters were feeling, but that's not what I got when I watched the film. All the music sounded eerily similar as I was watching. It seemed like they were just replaying the same songs. It just felt out of place in the movie. The movie had badass violence then a really terrible song would play that would completely change the mood and I was like what the fuck? Music selection is really based on personal style, and if I had made this movie I would've gone a little edgier. I'd probably list more, but I can't remember much. I did enjoy the car races and the random acts of violence that literally came out of nowhere; I was so excited. It was pretty cool and unexpectedly graphic...like really, really graphic like Hostel graphic. I think I liked the first half of the movie because I remember thinking "Hey! this movie is pretty good!" then towards the middle I was like "eh...this is kind of boring" then near the end I was like "GOD WHEN IS THIS OVERRRR". A movie is supposed to captivate the audience and keep them intrigued and this movie failed to do both (at least for me it failed). Maybe I wasn't able to appreciate the artistic vision the director executed (or attempted to execute), but I just plain didn't like it. I can appreciate it for what it is- it got a 93% it must've done something right, but I hope I never have to watch it again.

• Mike S

  
  Drives towards excellence, but doesn't fully get there. Don't get me wrong, I really enjoyed this film, but compared to what the hype had me believe it would be, it just fell a little short of my expectations. One thing I loved about it though, was the unique combination of… More
  Drives towards excellence, but doesn't fully get there. Don't get me wrong, I really enjoyed this film, but compared to what the hype had me believe it would be, it just fell a little short of my expectations. One thing I loved about it though, was the unique combination of music, directing and overall style. Ryan Gosling is fantastic as a morally bipolar stunt driver, whose profession by day goes well into contrast with the illegal activities he participates in by night. Well-acted supporting roles, in the form of character actor Ron Perlman and the charmingly gifted Carey Mulligan, adds even more to its appeal. And how can you not like a movie that merges the best of the 80's with the raw thrills of contemporary cinema? An example of that is the delightfully nostalgic soundtrack, which is not unlike the retro rhytms of synthpop legends Daft Punk. Directing-wise, it's virtually flawless. Slick camera action and beautiful photography, bestows the story with a very smooth and artistic touch. Often within its frames are also moments of silence that becomes like visual poetry in its refreshing simplicity. Few films ever achieve such well-rounded and seamlessly orchestrated poise between action and art. Yet, for all its amazing qualities, I felt there was something missing. Perhaps it's the story that felt a bit too commonplace. Or maybe it's the shortage of action and slow-going pace. Either way, I wasn't entertained to the degree where I would call it high-octane. An entrancing experience nevertheless though, and certainly one of the best crime-dramas that 2011 had to offer.

• familiar s

  
  "The extreme and escalating violence will prove off-putting to some-frankly..." Well, the violence didn't put me off the least, but the lack of interesting story and even less interesting execution did so. You can't come up with an original storyline everyday and… More
  "The extreme and escalating violence will prove off-putting to some-frankly..." Well, the violence didn't put me off the least, but the lack of interesting story and even less interesting execution did so. You can't come up with an original storyline everyday and that's understandable, but at least you can tell it in a way that holds interest. Almost each move here was agonizingly predictable. At best, with an over-generous heart, I'd write it off as a run-of-the-mill action thriller!!!

• Bently L

  
  After reading many reviews and watching the trailer, I figured that Drive would not be an action movie. I thought it would something more artistic and smart. I just watched it recently and it is indeed different than what I was hoping it to be. Drive features a nameless… More
  After reading many reviews and watching the trailer, I figured that Drive would not be an action movie. I thought it would something more artistic and smart. I just watched it recently and it is indeed different than what I was hoping it to be. Drive features a nameless protagonist portrayed by Ryan Gosling. He is simply known as The Driver. This film that you should see and I won't give away a whole lot in this synopsis. The story follows The Driver who has two day jobs. The first is working in a garage. The second, a part-time job, is being a stunt driver for Hollywood action films. His night job is working as a getaway driver and the brilliant opening scene shows him doing this. The Driver crosses paths with a young woman named Irene and her son, Benicio. They begin a friendship. When Irene's husband, Standard, is released from prison and learns about The Driver's job as a getaway driver, the two get involved in a heist. They try their hardest to not upset the two mobsters behind it. I'm leaving it up to you to see where the story goes from there. Yep, this movie rocked. I enjoyed it thoroughly. Nicolas Winding Refn's direction is very stylish and artistic. Some have been comparing him Quentin Tarantino but I think the two have different styles. Still, Refn is a very good director. His choice of music, his pacing, and camerawork are highly impressive. Drive is a fine production. Not only does Nicolas Winding Refn do a good job as the director, the writer dished out an awesome script and the cast is terrific. I don't mean to go all hipster on you guys but I think this film was a bit too good for the mainstream audience. The film is very different than the trailer. I'll admit that I enjoy both mainstream and art films. While there are action scenes, the film is not entirely an action film. It's much more violent than a lot of the action films we see these days. It's not just car chases and guns firing. The violence is a lot more. Trust me. This film is pretty darn violent. A casual moviegoer probably wouldn't appreciate the film's quiet moments and filming style. However, I think many people will enjoy the film whether you're a fan of indie film or not. This movie does have the power to polarize audiences though. Now that I'm done whining about the film's appeal to audiences, I'll go over the performances. Ryan Gosling is simply amazing as The Driver. He doesn't speak a whole lot, but when he does, something great comes out of his month. I also love the facial expressions he uses. Carey Mulligan was very good as Irene as well as Oscar Isaacs as her husband. Albert Brooks was also awesome. His character, Bernie Rose, seemed to have no emotions other than being angry. You can see the anger in his eyes when something doesn't go right for him. I do think he was robbed out of a Best Supporting Actor Oscar nomination. I haven't seen any of the films nominated in that category by the way. I also thought Ron Perlman was pretty good as Nino. I haven't seen a whole lot of Brian Cranston but he was great. The child actor who played Benicio did a good job too. For some reason, most child actors these days get on my nerves. This kid did well because he didn't have a whole lot of lines to begin with. A lot of his scenes were built around facial expressions. Christina Hendricks was good too although she was mostly crying or whining when she spoke her lines. She wasn't the best actor in the film but she definitely wasn't the worst. I did enjoy the last scene involving her character. I love movies with no bad actors and Drive did just that. The writing in this film is excellent. The film does have a lot of quiet moments and there isn't a whole lot of talking. When the characters do speak, their lines are written very well. And I already went on and on about the film's direction so I'll move on to the score. Music plays a pretty big part in the movie. I really liked that song in the beginning, "Tick of the Clock", by Chromatics, and the song, "Nightcall", by Kavinsky and Nightfoxx that plays during the opening credits. For those who have seen the movie, we will never forget the song, "Oh My Love", by Riz Ortolani, that plays during the soon-to-be-classic "Mask scene". Not to mention the song that song that plays during the Elevator scene. The score and soundtrack take the film's memorability to a higher level. The songs are also pretty hypnotic and do manage to relax me. The music in this film is phenomenal. It sounds a lot like music from the 80s. Just thinking about it makes me want to jump in a car, take a road trip, and play the soundtrack in the background. As of now, I have only seen Drive once and I am eager to give it another watch. When I was conceiving this review, I was planning to rate this 90%. However, I remembered how well-crafted and original this film is. So I'll be rating it 100%. The direction is awesome, the acting is fantastic, the score is incredible, and it's highly memorable with many scenes that are destined to become classic. Drive may have not been a mega blockbuster during its theatrical run but it seems to be getting a cult following. It deserves it. Drive is fantastic, awesomely directed by Nicolas Winding Refn, wonderfully gritty, entertaining, and has an extremely memorable ending. Depending how attached you become to The Driver, you might get a little emotional during the climax. If you're a fan of stylish and unique cinema, go rent this one. It is one the best films of 2011 and gives an example of true filmmaking. "You shut your mouth. Or I'll kick your teeth down your throat and I'll shut it for you."

• Lenny M

  
  Film is simply solid, great from start to finish. Had no expectations for the film due to the surplus of car movies being released. It was pretty ballin'. Ryan Gosling knows he was in the Notebook so I think he feels he's got to prove he's got chops, and balls. Some… More
  Film is simply solid, great from start to finish. Had no expectations for the film due to the surplus of car movies being released. It was pretty ballin'. Ryan Gosling knows he was in the Notebook so I think he feels he's got to prove he's got chops, and balls. Some intense scenes, unexpected gore for ya chores. 3.5 star movie but half a star for that sweet sweet soundtrack, makes the movie. Almost worth buying if you're a "REAL HUMAN BEING!".

• Spencer M

  
  Excellent camera work, excellent score and overall great viewing experience.

• Pierluigi P

  
  A crime film with the flavour of the classics, brutality and lyricism in well measured dosis. I like to witness a product of the new millenium channeling genre filmmakers I like: Brian De Palma, William Friedkin, Walter Hill or Michael Mann. Moody, stylized compositions with no need… More
  A crime film with the flavour of the classics, brutality and lyricism in well measured dosis. I like to witness a product of the new millenium channeling genre filmmakers I like: Brian De Palma, William Friedkin, Walter Hill or Michael Mann. Moody, stylized compositions with no need of shaky cameras to raise tension. A great throwback to the neon-cocaine-synthetized noirs of the 80s.

• Dean !

  
  I had high hopes for this after all the hype and it live up to most of it. It's more of a thriller than an all out action film. It has a cool soundtrack, very stylized shots, I can see why it had a certain 80's vibe to it. The violence I wasn't expecting hits suddenly… More
  I had high hopes for this after all the hype and it live up to most of it. It's more of a thriller than an all out action film. It has a cool soundtrack, very stylized shots, I can see why it had a certain 80's vibe to it. The violence I wasn't expecting hits suddenly and hard. A film where a lot is left to the imagination of the viewer. There is little in back story, dialogue, reasoning etc but it doesn't matter. It creates lots of little sub plots you could picture yourself. To be honest I had hoped for a bit more action, especially another really good car chase. The film in the second half takes a different lead though and becomes a dark gritty thriller, but still a very good film.

• Justin Y

  
  Nicolas Winding Refn's <i>Drive</i> is as its title states, and yet it isn't.<p>Filled with initial character setup and high intrigue, the opening 10 minutes are a solid piece of work. After that, the rest of the picture is a downgrade. Not to take… More
  Nicolas Winding Refn's <i>Drive</i> is as its title states, and yet it isn't.<p>Filled with initial character setup and high intrigue, the opening 10 minutes are a solid piece of work. After that, the rest of the picture is a downgrade. Not to take anything away from the plot, because it is quite good especially in the second half, but there is a bit too much drag along the way.</p><p>The violence is intensely brutal and somewhat of a surprise given the slow dramatic nature of this 90+ minute film. While the story does revolve around the "drive" profession, the driving segments aren't the most memorable portions of the film, and the way the story plays out, they aren't meant to be. <i>Drive</i> is all about story and character.</p><p>Ryan Gosling is quite monotone; however, it falls in place with his lead role. Bryan Cranston, Albert Brooks, and Ron Perlman put together some amusing performances, while Carey Mulligan delivers her drama. Christina Hendricks is underused.</p><p><i>Drive</i> is far from a bad movie. In fact, it has many components of a good film. It's the humdrum nature and unhurried pace that is a determining factor in its attraction.</p>

• Spencer S

  
  Drive is the emphasis of stylization. It's hard to explain this film in terms of how I felt when watching it, but it completely sucked me in. The entire film is centered on the main character, who is as ambiguous as it gets. There's no back-story to him, no true explanation… More
  Drive is the emphasis of stylization. It's hard to explain this film in terms of how I felt when watching it, but it completely sucked me in. The entire film is centered on the main character, who is as ambiguous as it gets. There's no back-story to him, no true explanation for what he does or who he is. Usually a movie that tries to accomplish such an awkward character as that ends up disjointed and nonsensical. Ryan Gosling's performance proves to be menacing enough where you care less about who he is and more about what he will do next. This film has an impressive look, the direction and editing is tight, and it's obviously a throwback to the eighties. The soundtrack is a synth worthy callback to 80's europop, which I previously didn't like in the eighties, but here it gives the film an ethereal and sometime high caliber feel compared to other films. The director Nicolas Winding Refn and screenwriter Hossein Amini worked together to broach and bring together many different kinds of films to create a film that transcends all the genres and inspirations it samples from. Besides being homage to the "heist gone wrong" films that saturated the late seventies and early eighties, it's also structured like a Grimm's fairy tale with Gosling being a linear figure who saves the day; seen as a knight like character. The film works well because at first we're not sure to what lengths the unnamed Driver will go to in his world of violence and crime bosses. As we move into a story of crime gone wrong, we realize there's really no happy ending for him and that's okay. He knows it, he's really got nothing to go back to, and everyone he loves is either dead or is in danger lest he sacrifices himself in some way or another. Much of the film is just pure beauty and gritty violence, but not in an intentionally vulgar way. Every part of the plot is in place, believable, and perfect. That all works well because of the amazingly cast ensemble. The reason Albert Brooks is getting heaped on with praise is because no one sees Albert Brooks and thinks violent criminal. Of all the violence in this movie, Brooks has the most gratuitous scene of them all, and all you keep thinking is, "That's Nemo's dad!" Or quite possibly you're a grownup and think about Broadcast News, in which he was a neurotic mess. Also an unexpected casting job was making Ron Perlman a villain as well, and though his voice, large build, and B-movie status lends to these kinds of roles, he also has been the beastly good guy on more than one occasion. Other great choices include Christina Hendricks as eye candy who works as an accomplice, Carey Mulligan as the romantic interest who's just trying to escape men who ruin her life through death, and Bryan Cranston as a kind of pathetic sidekick who invariably falls on bad times and gives into Brooks' whims. It's a tense and yet action imbibed film and there isn't anything as strong to come out of 2011 then this.

• Candy R

  
  Driver (Ryan) is a stunt driver by day and by night a getaway driver for robbers. He befriends a woman (Carey) and her son and helps her husband in a robbery. Then it all goes pear shaped. There's tit for tat murders. Slow in parts in scenes and lack of dialogue. There's a… More
  Driver (Ryan) is a stunt driver by day and by night a getaway driver for robbers. He befriends a woman (Carey) and her son and helps her husband in a robbery. Then it all goes pear shaped. There's tit for tat murders. Slow in parts in scenes and lack of dialogue. There's a big contrast between slick car chases and bloody frenzied killings. Ryan is too cool and good looking for this role.

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