Monday, September 26, 2011
From it's credits of retro indie beats mixed with pink font you know there is something striking in store. Gosling plays the Driver with no Name who works as a Hollywood stuntman while moonlighting as a getaway driver at night. His life is one of solitude and never getting too close to anybody. That is until new neighbour Irene (Carey Mulligan) moves in with her son and the two strike up a relationship. As the Driver begins to melt his hard exterior and get close to this new family, his violent past comes crashing back into everyones lives. Along the way, supporting characters are filled out by fantastic character actors from Breaking Bad's Bryan Cranston (his usual reliable self), Ron Perlman (having great fun), Oscar Isaac (about the only one who escaped from Sucker Punch untainted) Christina Hendricks (fans of Mad Men will not be happy with her limited screen time) and the usually typecast Albert Brooks. Brooks in particular is mesmerizing. Usually seen in childrens fare and nice guy roles, here he plays the psychotic main antagonist to fantastic effect. Interestingly, he is infused with layers making his violent actions all the more shocking and unpredictable. Surely an oscar nod can't be far off? And then there is Gosling. Given little to no lines throughout, Gosling gives a hypnotic and quietly powerful performance and one that is sure to be remembered in cult circles for years. Winding cast his film perfectly and everyone delivers in their respective parts. That is, apart from Mulligan. A usually fantastic talent, she is never less than entrancing in anything I have seen her in prior. Unfortunately here she seems distractingly miscast and is given little or nothing to do. One minor flaw in a fantastic film. Spontaneously prone to breaking out in hyper violence as it is in 80's synths, the film is certainly one of the more memorable you will see. Gorgeously shot and impeccably acted, Winding Refn has crafted one of the best of the year with scenes that will stick with you for a long time after. An art house version of an action film and one that is filled with as much quiet moments of introspection as it is in gun fights and car chases. Channeling the vibe of Bullitt and early Michael Mann, Drive is every bit as exciting and interesting as that might expect. While it's title might suggest revving auto parts; what it in fact refers to, is the driving force behind decisions and what consequences they may take.
Stylish, exciting and frequently adrenaline pulsing stuff, this takes the stale notions of what a crime movie might usually entail and turns them into a far more interesting and memorable experience. It may not be deep, but Winding Refn handles the atmosphere perfectly and delivers one of the sure to be favourites of the year.