When Drive was created, the creative collaborations of the project went inside my head and uncovered exactly what I want to see in a movie. It's. That. Awesome.
Director Nicolas Winding Refn and screenwriter Hossein Amini, who adapted James Sallis's novel of the same name, tell the story of a Hollywood stuntman driver, name unknown (Ryan Gosling), being involved in a heist gone wrong. Along the way we meet his boss, Shannon (Bryan Cranston), a mobster named Bernie Rose (Albert Brooks), and the driver's beautiful neighbor, Irene (Carey Mulligan).
Whether the role was dominant, such as Gosling, or minor, such as Mad Men's Christina Hendricks role as Blanche, the execution of their character was spot on. As big of "stars" were in this small film, you didn't "see" the stars, you saw a driver, a garage owner, a mobster, a mother. Refn did a fine job deglamorizing the cast all around never left that mindset.
In terms of Drive's violent content, it’s graphic and gruesome, but efficient. The first half of the film is tame, but the second half is makes up for the non-violence seen previously. In a sense it’s like watching the calm before the storm. The soundtrack is impeccable. The use of the word “impeccable” might be biased since electropop is a personal preference. Various artists are interweaved with Cliff Martinez’s original score to accentuate a variety of visuals – the sexy pink typeface used in the opening credits, Gosling’s driving sequences, and the cinematography overall. Similar electronica usage was reminiscent of other works such as Thomas Bangalter’s score for Irreversible and Martinez’s other notable score for Sex, Lies, and Videotape. If anything, have a listen to “Nightcall” by Kavinsky and Lovefoxxx and “Tick of the Clock” by Chromatics.
To give Drive a “see it” or “don’t see it” verdict, “SEE IT!!!” would be a fitting response.
For more information: Please visit Drive's official website.