The unrelenting American myth of the anonymous lone anti-hero is brought back into the modern realm in this slick and stylish flick from director Nicolas Winding Refn (Pusher, Bronson, Valhalla Rising) and actor Ryan Gosling (Half Nelson, Blue Valentine).

Driveopens with an exhilarating sequence where the nameless Driver (Gosling) pulls an expert getaway from a robbery (there’s more tension and intrigue in this scene than in most mainstream Hollywood movies) followed by a mesmerizing title sequence featuring the LA skyline to the heavy bass laden electro track ‘Nightcall’ by Kavinsky. From here on in director Nicolas Winding Refn takes us into a dream like fantasy world albeit a violent and unrelenting one.

Drive draws heavily from urban film noirs and gritty American 70s thrillers such as Bullet,Point Blank, and The Driver, yet also brings it’s own uniqueness to the table. Refn and Gosling both stated that they wanted the film to play out like a dream or fairytale that turns into a nightmare. Their goal was realized. The opening act is a beautifully shot and stylized romance where The Driver (works as stuntman for movies by day and getaway driver by night) begins an innocent relationship with his neighbour Irene (Carey Mulligan) and her son. However, things start to unfold, dealings with gang bosses and Irene’s absent husband returning from prison, put The Driver in a deadly and brutal world where he acts without compromise and with violence. Set in an LA setting that is arguably unique to movies, but is perhaps representative of something bigger within the characters and the places they (and us in the real world) inhibit.

A huge amount is delivered in Drive. Gosling’s performance is one of subtly and intensity that few charming young actors are capable of, bringing a depth and sincerity to what could have been a misplayed and misinterpreted character. Winding Refn’s direction and pacing is as equally cool and calm yet when he needs to rev the engine, the action sequences leap through the screen and leave you breathless. There is also so much style and pleasurable aesthetic in his shots its as if you could be watching a series of slick fashion videos. However, the only thing Drive is selling its self, and this is simultaneously a visual, high-octane tour-de-force and an intelligent thriller that dwells on both character and scenario as the main hinges of the action.

Drivewill certainly stands out as film that will long surpass the buzz of 2011 and find its place in American movie history (unlike so many Hollywood today).

Also the soundtrack is fucking great….

Toby King

Shine A Light

http://www.youtube.com/watch?v=eAc23x2JJG0