Drive (2011)

Spasmodically violent, creative cast and an off-center fast car-and-crime drama, the unit is generally thin, a subset of a stripped-down, semi-artistic, and almost existential action film, including Point Blank, Bullitt, and a driver. Ryan Gosling skillfully embody repressed man of few words, which makes a positive gesture to make a lot of pus in the world, the Danish prodigy Nicolas Winding Refn is an old atmosphere and engage in a glorified Potboiler that, apparently, half empty is powered by Creative the tank. Not a movie is generally considered the competition at Cannes this moody and bloody promo table entry should be a good result at the box office, and demanding public, and popcorn will be in September.

Never talk unless the driver is not identified as absolutely necessary, doing film stunt work Gosling during the day and moonlight as a getaway driver, vol. The opening sequence shows a strong race to take full control of the streets of Los Angeles, and his grace under pressure, as it weaves through a network of patrols and helicopters to break away from a store.

Drive (2011)


Dependence on a nearby attractive in her apartment building near the center, Irene (Carey Mulligan), the driver does not speak to more eyes than the mouth. The first exchange between them summed up the semi-philosophical, the border state of cheery kind of dialogue that often find their way to that. Irene: "Whaddya 'do?" Driver: "I drive".

Never learn much more about the man than this, but quickly took a keen interest in the welfare of this young man, who has a young son (Kaden Leo), whose father is in prison. At the same time, it seems that the fate of professional conduct could be improved, as their leader and protector long, lame legs, auto shop owner Shannon (Bryan Cranston) made a pact with U.S. dollars large investors Bernie Rose ( Albert Brooks) to the driver, like a stock car racer.

Irene, when the man called standard (Oscar Isaac), is released, he expressed regret for his actions and sincere appreciation for his old shot a second chance. However, an unpaid debt, common criminals Bernie unknown links Nino PAL (Ron Perlman), a botched robbery and venality deeply rooted in several fronts in the driver pull a dangerous underworld, ultimately, requires a lot more to him than his ability to perform.

Cradled between the special situations usually quiet and moody, which is dramatically offset by the effective implementation of car chases and murder to intensify - and increasingly bloody - as the iniquity of the increase. Downtime is not likely to become boring, does not this cast, or Refn vibrant style and a wildly eclectic soundtrack, which is immersed in techno music, but extends far beyond.

Still, Hossein Amini's adaptation of the novel by James Sallis short "feels worn as bracingly short, it is clearly aspires to this kind of muscle replacement parts pioneer in crime writing in Hemingway's The Killers and the subsequently used by many others. Amini simply can not build enough innuendo and layers beneath the surface of the characters and dialogue, tough talk is simply not loaded that way, it is best to blacks, So the lack of resonance is obvious.

Probably the same reason, finding a place something like this visually as well. Refn, who built himself a substantial following on the basis of these elegant, powerful functions Pusher Trilogy, Valhalla Rising and Bronson, creates a strong impression with his vision of a dark, sordid LA (Newton Thomas Sigel was director of photography ingenuity), and violence increasingly go beyond what you expect. But there are no sequences here that the voltage or absolutely kick ass in the genre up (with the exception of the creative way that some murders are done). The good thing here is pretty good, but it does not reach the highest level.

So it is a pleasure, if not exciting ride, one led by a wonderful voice total. Gosling here attempted to enter the iconic series of hard, mastered American film actors - Steve McQueen, Clint Eastwood, Lee Marvin - who express themselves through actions rather than words. Sometimes (often around Irene), his driver smiled too, but Gosling is the correct position for the security effort in the driving scenes and unexpected reservations call when they are asked to stuff very rough later.

Mulligan, as in the fare class so far is an excellent choice as sweet, but Irene, while Isaac spent his sentence with intelligence and sincerity unexpected. Christina Hendricks is here to stay, but made a great impression as an accomplice in a robbery unwise. Cranston steep applies color to your good man loser, while Perlman brings all the wrong way. Most surprising of all, however, is Brooks, who is wonderful as a rich, reasonable-sounding people who are better than others to conceal that he is a total sob