Drive (2011)

One more from SDCC.

Drive is the newest film from Nicolas Winding Refn, director of the awesome  Bronson (about Charles Bronson the British convict, not the actor), and soon to be helming the remake of Logan's Run. It features Ryan Gosling, who seems to be all over the place lately, Carey Mulligan, and Ron Perlman, along with a whole cast full of great actors in secondary parts.

Drive is about a movie stunt driver (Gosling) who, until now, I hadn't noticed is never named in the film. Hmm... well, anyway, he uses his driving skills to pull off heists for criminals. His system is that he is responsible for the safety of the crew for the five minutes immediately following the heist, during the getaway. Anything before or after is solely on them. To that point, he's never been out-driven, his crew always getting from A to B safely.

However, despite the excitement of crime and stunt driving, Driver's life is empty. His apartment is plain, his nights quiet and alone, his day job isolating. This all changes when he meets, literally, the girl next door. Irene (Carey Mulligan) is a young mom who's husband is in jail. Driver helps her out while hubby is in the slammer, and soon the two have developed a deep affection for each other, if not a relationship. When hubby gets out, he tries to reform, but his old gang isn't hearing it. Driver wants nothing more than to keep Irene and her kid safe, and takes on the responsibility of getting hubby out of hot water with his old gang.

Of course, that's when things get complicated...



Sometimes you get treated with a movie that's full of awesome stuff that you somehow haven't heard a damn thing about. Sadly, it means that the studio probably just isn't promoting the thing, but hey, bonus for me.

Anyway, went to the theater knowing nothing about this flick, my roommate suggested I go after seeing a clip for it at a panel earlier in the day. In the lobby I was grabbing popcorn, and happened to run across the cast and director who were coming in to introduce the show. Great bunch of people, very friendly. Mulligan and Perlman are both very, very quiet. Its almost off-putting. But, hey, they seem modest and polite, can't complain about that.

Socializing aside, I enjoyed watching this flick. Drive opens with an incredibly intense heist sequence that doesn't for a moment feel far-fetched or reaching. The Driver sets his watch and waits patiently while his clients knock off their target. The seconds tick by as client #2 gets held up inside grabbing the cash. As he finally reaches the car, the police scanner alerts them that the cops are in the area, and their car has been tagged as a vehicle of interest. The Driver's got five minutes to outrun, out think, and generally hide from the cops, on the streets and in the air, the tension never letting up. Engines blast through the speakers, as an idiosyncratic Atari-Fire-like score and credits written in 80's-style pink text chop up the style.  By the time the job is done, I couldn't help but find myself rooting for our silent, bad assed protagonist, the perfect opening.

The rest of the film is actually very slow by comparison, a long, tense character drama, it focuses on the relationship between the Driver and Irene, and the development of the Driver's sense of self, his goals, and a bit of heroism to boot. The scenes are all incredibly well directed, with some very unique styles making a story that has familiar beats feel very new. The drama is broken apart, at times, by stunningly violent, visceral action sequences, sure to make some wince.

My one complaint with the otherwise awesome film? A sheer lack of dialog. Now, I'm glad the film isn't exposition heavy, and it does at least avoid many movie cliches by skipping past the dialog, but those interactions between characters are still there, and those moments aren't filled with any sort of action. What results is a movie where most character interactions are simply two people on either side of the screen, staring at each other for painfully long moments.

Used sparingly, this could have been considered brilliant. "Oh, look at how much they convey just by looking at each other." But Drive uses this slow, plodding communication so much that by the end of the film its simply an exercise in self-parody.

"Would you like some water?"
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"Sure."
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"So, who's that?"
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"My husband.......................................................................he's in jail."
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"Oh............................................................I gotta go."
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"Sure. Well thanks."
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"Yeah...................................................................................thanks for the water. Later."

I'm really not exaggerating. That's a real conversation from the movie, and it takes about five or six minutes to get there, I swear to God.

A few others I pulled into the theater with me found the long, plodding line delivery grating, and spent the rest of the night mimicking it by staring at each other and refusing to answer each others' questions at dinner afterward. Others found the extremity of the violence hard to match up with the subtle-beyond-reason performances of the drama.  So, there may be some complaints.

But, hey, you've been warned. So far, most have been blown away by Drive, at film fests and such, and while I do try to avoid hyperbole, I can say its a quality flick with a lot of interesting bits, and I recommend it to ya.