Drive (2011)

[Kurug3n]

Starring Ryan Gosling (Notebook,Half-Neslon) and Directed by Nicolas Winding Refn (Pusher series, Bronson)

A Hollywood stunt performer (Ryan Gosling) who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.

Red Band Trailer

Here is the wikepedia page for more information

I am definitely looking forward to seeing this 

[moviesceleton]

Could be fun. Thanks for the heads up

[Kurug3n]

Here is a poster for ya

[dave jenkins]

http://www.amazon.com/Drive-Original-Motion-Picture-Soundtrack/dp/B0057VDGNK/ref=sr_1_1?s=music&ie=UTF8&qid=1314295600&sr=1-1

[Kurug3n]

Thanks for the link dave

I'm also wondering if you could share your thoughts/opinion on the upcoming film?

[dave jenkins]

Clip: http://www.festival-cannes.com/en/mediaPlayer/10934.html

Another clip, plus photos: http://blogs.indiewire.com/theplaylist/archives/watch_ryan_gosling_carey_mulligan_bryan_cranston_in_new_clip_from_nicolas_w/

[dave jenkins]

I'm also wondering if you could share your thoughts/opinion on the upcoming film?

It's hard to know before actually seeing the film. I can let you know on Sept. 16th, though.

[noodles_leone]

It was at the Cannes Film Festival. The extracts they showed on TV looked interesting (made me think about We Own The Night). The composers who worked on Rapaces saw it and told me it was ok: although they liked the direction (it won best director), the pace was too quiet for them (too French drama like).

[Dust Devil]

Ryan Gosling (The Believer, Lars and the Real Girl)

It's alright now.

[Kurug3n]

It's alright now.

 

[dave jenkins]

I can let you know on Sept. 16th, though.

I lied.

Drive (2011) - 9/10. This has a lot going for it: style to burn, a better-than-adequate electronic score, some interesting casting choices. And I appreciated the way that long, dreamy, slo-mo sequences could suddenly give way to moments of shocking--truly shocking--violence. But there were several niggling things that kept it from being perfect: the soundtrack was augmented with some really bad pop tunes, the editing sometimes made it impossible to fully enjoy the action scenes (especially the car chases), and it's just not believable that Ryan Gosling could consistently punch above his weight class. There were plot problems as well. Sometimes things played out believably. If you're in an elevator with an armed assassin, and you can get him down on the floor, you would try to kick his face in. And you would keep on kicking until there was no more face to kick. I get that, it's perfectly logical. But if you're going to a knife fight with Albert Brooks--I kid you not, Albert Brooks!--would you really bring only a polo shirt for protection? Speaking of Albert Brooks, if there's any justice the guy will get a best supporting Oscar for this. He's both funny AND scary. And speaking of knife fights, they're a nice change of pace from the usual shoot-em-ups.  And Carey Mulligan was a very appealing alternative to the usual love interest. And there wasn't as much driving in this as I thought there'd be. And that's a good thing.

[Kurug3n]

I lied.

I'm glad. Nice review Dave

[dave jenkins]

Elsewhere on the board, Jordan Krug is proposing that the lead in the film operates as a kind of man-with-no-name for a new generation (and so maybe Drive could be considered a Western). It's an interesting take and one worth exploring. For my own part, I see the Ryan Gosling character as the second coming of Travis Bickle.

[Groggy]

Ebert compared the Driver to MWNN as well as Alain Delon in Le Samourai.

[Groggy]

My stab at a review:

Drive is the best movie I've seen in theaters since True Grit. There's probably some deep existential meaning to it all, but I just enjoyed it as a stylish, superbly crafted action film.

The Driver (Ryan Gosling) is a garage mechanic and part-time stunt man who serves as the getaway driver for some small-time hoods. Shortly thereafter, his boss Shannon (Bryan Cranston) gets him mixed up with film producer/crime boss Bernie (Albert Brooks), who wants to sponsor him as a stock car driver. The plot thickens when the Driver gets involved with his neighbor Irene (Carey Mulligan), whose husband Standard (Oscar Isaac) was just released from prison. To held Standard escape a loan shark's wrath, Driver agrees to take part in a $1 million heist, which lands him in deep trouble with Bernie and his underboss Izzi (Ron Perlman).

Drive is a first-class production all around. Nicholas Wending Refn makes a unique-looking film, from the moody urban mis-en-scene to the expressive editing scheme, with its slow-burn dissolves and non-linear sequencing. Refn stages impressive set pieces, especially the curtain-raising getaway drive and an exciting chase scene halfway through, and some unexpectedly graphic violence gives the action a real kick. Occasional artistic ostentation - a groan-inducing scene where a bemasked Driver walks slow-motion into a carefully framed window comes to mind - does not detract from Refn's superb direction.

What really sets Drive above its peers, however, is Hossein Amini's script. Elliptical in plot and character motivations, it smartly transcends cliche by building on familiar material. The well-drawn ensemble cast helps immensely: the Driver-Irene romance is sweet and avoids a cliched love triangle. Characters are largely drawn by relationships: Irene's affection for her husband and son and attraction to the Driver; Bernie and Izzi's tense partnership; Shannon's pathetic toadying. A leisurely pace immerses the viewer in the story, a welcome change from fast-cutting shakycam blockbusters. The climax feels a bit rushed but the ambiguous ending is a perfect coda.

Ryan Gosling gives a knockout performance. In Gosling's hands, the Driver becomes a fascinating protagonist, a deconstruction of the standard Hollywood action hero. He's likeable enough in his early scenes with Irene, but his effortless transition into a vengeful murderer is chilling. Gosling's controlled, monosyllabic performance makes both sides of his character credible: a character so emotionless and nonexpressive could be hiding anything. It's been a big year for Gosling, and this film should catapult him into the top tier of Hollywood stardom.

Gosling is backed by an interesting supporting cast. Albert Brooks steals the show as the psycho crime boss with a knife fetish, quite a turnabout from his usual comedy roles. Carey Mulligan (Public Enemies) is sweet and quietly vulnerable. Oscar Isaac (Robin Hood) handles a difficult role with sensitivity: he avoids the temptation to make Standard a cranky cuckold or a sad sack. TV favorites Brian Cranston (Breaking Bad), Ron Perlman (Sons of Anarchy) and Christina Hendricks (Mad Men) feature in key supporting roles.

Drive is an excellent film all around. If nothing else, this and The Debt prove that an action movie doesn't need lots of CGI robots or explosions to be fun. 8/10

http://nothingiswrittenfilm.blogspot.com/2011/09/drive.html