Drive Reviews

My favorite movie of 2011. It kept me in a trance the whole time.

In a way Drive is a very typical Nicolas Winding Refn film. It has same gritty and surreal way of mixing violence and poetic camerawork into more darker undertones. Refn has always been an interesting director when it comes to showing our violent sides as a humans. He is not afraid of to look into our psyche and dig deep into it.
With his Pusher-trilogy, Bleeder, Fear X and especially Drive, Refn has created a portrait of violence inside us. I myself find Refn very talented director but also feel that too often it seems that he is copying too heavily from other directors like Stanley Kubrick or David Lynch. Fear X was a film full of references to Lynch's work, while with his Bronson Refn clearly tried to do his version of Clockwork Orange. Now with Drive his aiming for territory more familiar to Michael Mann and William Friedkin. This is a film that is like a mixture of Friedkin's To Live and Die in L.A. and Michael Mann's Miami Vice. Is it as good as those films? My humble opinion is not quite.
While it definetly could go mentioned in a same sentence with Friedkin's film but Refn is no match to Mann as a director. But then a again there are not many directors out there who can match someone like Michael Mann as a director. I don't know if i am being fair in comparing these films or directors together or is it even necessary, but for me it would be odd thing not to mention it because these all directors and films share so much in common. Of course Refn does have his own voice and style as a director. As i said that he is often more interested in violence inside us and he is not afraid to show it to us in audience.
One of the most impressive elements in Drive is its cold and disturbing style it has. There is oddly fascinating menace in Refn's images and composer Cliff Martinez's amps up the brooding atmosphere to the maximum. Actors are mostly ok here but this film is more about style than actors or content. It is sort of an homage to a films like this. In the end Drive might be a bit overrated as a film and i am not sure if it really is something so special to earn its possible cult status. You still cannot deny that it has some very effective moments and elements in it.

When I got home after a long drive from the cinema, I wasn't entirely sure why 'Drive' was getting the praise it was getting. Coincidentally, I had travelled up to North London to pick up a new car. As my local area's cinema coverage is poor, the only place I could catch 'Drive' was in London. The plan was to pick up the car, find my way onto the M25 and see an afternoon screening in Romford, Essex. Unfortunately, this proved to be a minefield of stress, Romford was packed full of people and cars, I was sure that I'd miss the screening, but I'd got far enough into Romford for me to persevere. I got there just in time, but it was these conditions that led me to make one of the biggest misjudgements in my film watching history...

I was attracted to the style of 'Drive', but more, perhaps macabrely, to the supposed violence of it. The film is spattered with torrents of claret, stark shankings and devastating gunshot wounds; there's also a spot of stomping. The film dishes out violence as it is, ugly and nasty.

The film started strongly, Gosling was convincing and intimidating, and he remains that way throughout the film, but surely playing the strong silent type is easy money? 'Strong silent type' is something of an understatement, the man is utterly devoid of conversational skills, only when he is working or amidst the drama of the latter half of the film does he fire up. Gosling is reminiscent of Clint Eastwood's iconic anti-hero roles; but I also made a connection with Dustin Hoffman's performance in 'Rain Main'. It's this extremity that perhaps makes his relationship with Irene (Carey Mulligan) slightly implausible (some of their interactions are stupidly painful). Despite this, I think the Driver's growing intensity and his dexterity in violence is gripping; Gosling really nailed it.

After my first viewing I was really quite ambivalent about 'Drive'. "The film wasn't bad" I thought, "I'm glad that I saw it". I liked the exciting and somewhat smart and fresh car chase in the introduction; I liked the mood of the film. For the most part, I felt it was the prior knowledge of the film's uncompromising nature that created the sombre, moody atmosphere. It was also the fitting, bass heavy electronic soundtrack that complimented the night sequences. But I left the cinema feeling somewhat hollow; I was preoccupied with how I was going to navigate the M25 and the Dartford Crossing.

Despite the film having lack of depth and a meagre ending; its unforgiving nature made the film stay under my skin. It made me think that perhaps a second viewing would change my opinion, but on first viewing I couldn't agree with its surprisingly positive reviews, and certainly not with the current 'tomato meter' of 93%. I was surprised at how the film was actually being complimented for being vacuous, "How has it managed that?" I thought.

After coming to the conclusion that perhaps a second viewing was necessary, I did just that a few months later, and I preferred it, quite a lot in fact. I suppose I knew what to expect, so I made the most of it, lapping up its style and visceral edge. How on earth did the film possibly make a white padded jacket with a yellow scorpion on the back cool? And the driving gloves, they just reek of cool, oh and that black Ford Mustang... I am so impressionable. It got my heart pumping like few other films had accomplished; I really couldn't believe how the film had grown on me.

I vehemently disagree with the supposed 'subtexts' some people have mentioned. I have read condescending statements on how viewers should 'look closer' to 'understand' the film; pompous nonsense from pseudo-intellectuals.
Ultimately, though, like so many films, especially those that fall into the revenge/retribution format (think Death Wish/Taxi Driver), they're good until the last stanza, they're hard to wrap up. But I even preferred the ending on second viewing, it leaves unanswered questions; out of the ways they could've ended it, this was probably the most appropriate choice. Drive is an engrossing, genuinely nail-biting film. Though it is a trifle superficial, it's guaranteed to thrill you.

Probably the best movie of the year. No one will know it, unfortunately, since everyone watched Lion King 3D this weekend (really people?). Gosling and Mulligan control the audience -- from laughs to tears to disgust -- in spite of the fact I think there are no more than 20 lines of dialog in the first 30 minutes of the movie. I'll refrain from saying something more in homage to their understated performances. The real story here is ... the storytelling. Unlike Hanna, the artistic touches used to enhance frames never felt heavy-handed. Slow builds to mini-climaxes featured a very effective "fluid flashback" technique that made these moments feel like Gosling revving his engine before speeding away from a LA traffic light. Yeah okay, I'll stop. Just go see this movie. In theaters -- you'll have a lot more fun that way.

Haunting, provocative, shockingly violent and eerily presented, Drive is more an experience than a film.
Refn has nailed the mood of this film, providing us with an unsettling and anxious feel that constantly has us on the edge, even when nothing much seems to be happening on screen.
And that's exactly what happens! Moments of unsettling 'not much happening here' to flashes of over the top 'hell of a lot going on here'!
Gosling plays the part-sociopath-part-psychopath 'Driver' to a T, although the somewhat drab and prolonged character study on display may be a little tedious for some.
The faux-pas 80s sound track works well for the film and deadpan direction, but at times seems a little tacky and desperate.
Overall, this is a mature film targeted at a direct audience; primarily those with an open mind.

Few directors have been able to straddle art-house and exploitation as ably as Nicolas Winding Refn. He was raised on the French nouvelle vague, but was inspired to become a filmmaker after seeing The Texas Chainsaw Massacre. His films are often rooted in generic convention but are lofty in their ambitions and adventurous in their approach to characters. With Drive he has cemented his status as one of Europe's coolest directors, mixing art-house and neo-noir to create a future classic.

For fans of exploitation and genre filmmaking, it doesn't take long to see that Drive comes from very familiar stock. It is at its most basic level a B-movie, a pulpy thriller with a classic heist-gone-wrong plotline and a series of dark criminal dealings. There are clear through-lines with Taxi Driver and the films of Paul Schrader, with their protagonist as God's lonely man surrounding by a world filled with corruption and hopelessness. And in its more thoughtful moments, the film resembles existential thrillers like Jean-Pierre Melville's Le Samourai, Michelangelo Antonioni's The Passenger, or Anton Corbijn's The American.

The first real success of Drive is its acceptance of its B-movie origins, and its use of said acceptance as the foundation for something a lot less ordinary. Had its story been handled by Quentin Tarantino, the film would have thrust its references down our throats in the midst of unlikeable, unbelievable characters - we would, in essence, have ended up with Death Proof 2. Tarantino's recent efforts have attempted to embrace or ride on the back of exploitation cinema while not obeying any of exploitation's rules about brevity and self-awareness. But Refn is more honest about his background: he has no problem with applying its principles, giving us a film that feels well-oiled and efficient.

The only common ground that Drive has with Tarantino is its combination of highly stylised visuals and brutal violence. If you wanted to be pithy you could describe it as a simpler, more streamlined Pulp Fiction, albeit with only one storyline. The violence in both films often erupts from nowhere, and neither Refn nor Quentin pull any punches. The scene where Ryan Gosling's character beats up a man in the lift is akin to the scene in Gasper Noe's Irreversible where Albert Dupontnel beats an anonymous gangster to death with a fire extinguisher. The film earns its 18 certificate for this scene alone, not to mention the sight of Mad Men's Christina Hendricks being shot to pieces.

While Tarantino described Pulp Fiction as a tangential look at the various clichés and story arcs of the pulp genre - for instance, what do hit-men do between jobs - Refn has likened Drive to a Grimm's fairy tale. He envisioned The Driver as a modern-day knight in shining armour, roaming the land saving damsels in distress and defending what he believes is right by whatever means are necessary. He cannot commit to relationships because his life's calling leads to him being frequently put in danger and thereby risking harm to others.

But while the mediaeval knights, in fairy tales at least, were seemingly pure of heart and noble in intentions, The Driver's moral compass is a bit more complex and askew. While he desires to keep others from peril, he is almost drawn to it, either because he knows no other way of life, or because he is actually psychopathic, and we are lucky that his psychopathy is not driven by harming us. His attachment to cars and the thrill of driving them is borderline symbiotic, and while he is never reckless in his pursuits, you always feel he secretly craves being in danger. Why else would a getaway driver spend his day doing dangerous stunts? It's hardly the most convincing cover story.

When I reviewed A Royal Affair two months ago, I talked about how the central romantic conflict at the film reflected the Arthurian legends, specifically how the fatal affair between Sir Lancelot and Queen Guinevere led to the downfall of both Arthur and his kingdom. While Drive isn't so bold as to suggest that The Driver's attraction to Irene will doom both them and their world to destruction, their relationship is similar in that it shakes their world to its foundations. Irene's devotion to her husband is no longer as strong or unconditional, while The Driver's abstaining from attachment - his chastity, if you like - is brought into question by his strong desire to protect her.

The film is rooted in the great performance of Ryan Gosling - a performance which seems to have single-handedly lifted him out of the indie leagues and onto the Hollywood A-list. Comparisons have been drawn with Clint Eastwood's The Man with No Name or with Steve McQueen, but in fact Gosling's performance is closer to the work of Charles Bronson. Not only is there a vague connection to Death Wish in the later section of the film, but Gosling is far more laconic and brooding even than Eastwood. Put simply, he doesn't need to do or say much to convince us that he isn't warped or threatening in some way, and even when he does speak, it's rarely reassuring.

Gosling is supported by Carey Mulligan, who continues to impress in roles where she seems at odds with the world around here, following on from her performance in Never Let Me Go. Bryan Cranston, best known for playing Hal in Malcolm in the Middle, is completely unrecognisable as Shannon, disappearing behind the scruffy beard and make-up to create a really slippery character. There is also good support from Albert Brooks, playing completely against type, and Ron Perlman, doing anything but. The only performer who is underused is Christina Hendricks: it's such a small and relatively thankless role that you wonder why she was chosen for it.

While the cast are pretty stellar (Gosling in particular), the really memorable aspect of Drive is its aesthetic. It's ultimately a film which is interested as much in the surface as the subtext: it regards the storyline and fairy tale themes or motifs as being every bit as important as the sound of the car's engine, or the colour of the clothes The Driver wears. There is a vaguely Lynchian tone to the proceedings, with the film treading close to the territory of Lost Highway in the paranoia and identity crisis of the central character.

Because the story of Drive is so relatively straightforward (compared to either Lynch or Tarantino), its strength lies in marrying the different aspects of its aesthetic together. The film is shot by Newton Thomas Sigel, best known for his collaborations with Bryan Singer. He gives the film a glossy, 1980s sheen, borrowing the title font from Risky Business and drawing on his work on The Usual Suspects to make even the grimiest detail seem perversely pleasing. Refn's compositions are excellent, particularly during the lift scene and the few incidences of actual driving.

The film also benefits from a superb soundtrack from Cliff Martinez, former drummer of the Red Hot Chili Peppers who worked with Steven Soderbergh on Traffic and sex, lies and videotape. Not only do the synth pop choices make sense within the context of the film, but the soundtrack is very well-mixed, taking account of the variations in noise emanating from the party and the movements of Refn's camera, for instance as it pans across an empty bench towards a ringing phone. The engines in Drive are a soundtrack unto themselves, with Refn following the lead of Bullitt and the Mad Max trilogy in allowing them to score the driving sequences without the interference of 'real music'.

Drive is a great film which is set to become a classic of this decade. It epitomises everything good about filmmaking in 2011, without falling into many modern traps or feeling ashamed of where it came from. Gosling's central performance combines threat and bravado with undeniable charisma, and the whole product runs like a well-oiled machine. While it's arguably too familiar or generic to be considered a perfect film, it contains everything needed to make it genuinely great.

Silent yet subtle in dialogue, but grizzly graphic and adrenaline-fueled in action. Drive is that sleek masterpiece with a soundtrack and ensemble that artistically exemplifies the upbeat vibe of the film. 4/5

Love the opening sequence. The soundtrack and style of the film is great as well. Didn't care for the main character or the rather odd love story. Struck me as unrealistic. Everything else works pretty well, and it's a decent action flick.

A stunt driver and part time wheel man decides to help his neighbour's ex-con husband perform a robbery to clear a debt incurred whilst in prison to protect his family. Drive has a very self-consciously retro feel to it and despite the very 80s styling it has far more in common with the hard boiled cop thrillers of the 1970s such as The Getaway, The French Connection and of course, Dirty Harry. Anyone expecting another Fast And Furious or Gone In 60 Seconds will be disappointed because the approach is far more restrained and relatively testosterone free; the violence is sparse but brutal and the car chase sequences have obviously been heavily influence by Bullitt. As such it has a refreshingly different feel, almost like an semi-action version of The Sopranos which makes it stand out from an over-populated crowd. The only real problem for me was the central character himself; he is not the most sympathetic of "heroes" and Ryan Gosling's almost robotic depiction is rather difficult to warm to but thanks to a quality supporting cast and some beautiful photography it's one of the better crime thrillers of recent years.

Drive was one of the best films of 2011. The film features a haunting performance by Ryan Gosling coupled with incredible and thoughtful direction. Drive is engaging from start to finish.

Nicolas Winding Refn's 'Drive' is an offbeat pathological tour de force that is as brilliantly executed as it is unique. It's neo-noir supplements provide artistic elements to the film that will probably go unnoticed to the average viewer (implemented shadows, slow cinematography, etc.) but any one that considers themselves a true movie lover will absolutely applaud Refn's artistic ability that he throws at the film. The pace is a wonder, because it slowly builds until everything seems to blow up in your face...and damn, is it glorious. Refn powders this film with such shocking violence that you can't decide whether you want to stare in awe or turn away. Either may prove a necessary reaction. Gosling's performance is also a major element of the film, as he plays the Man Of Few Words type with cold calculation and fierce determination. 'Drive' may be the movie of the year so far, but it has some incredible competition coming up. If it doesn't have at least 5 Oscar nominations coming it's way, that I will lose almost all faith in the 'system'. 'Drive' truly is a wonder to behold, and it does so with such few words. That's art.

Had heard really good things about this one, plus Carey Mulligan and Ryan Gosling starring raised my expectations. Actually it was kind of average. Not bad, but very slow and not a lot to it.
Ryan walks around not saying much and his relationship with Carey and her young son is a real stretch of disbelief. Yes, he's okay looking, but what else would she see in him, really? The story with him getting caught up in trouble with her ex also rings untrue and Christina Hendricks has a small role here, which is the worst I have ever seen her act.
There's also a surprising amount of violence, which I didn't expect here and I don't think is really warranted in the story.
Very disappointed.

First off, this is definitely not my type of film. The style in which it is filmed is too silent and too stoic for my taste. Although that can be positive too since you don't always need to tell a story through lots of dialogue. That aside, this is a very good film, Gosling is perfect for the role (not so sure about Mulligan) and I definitely enjoyed (and the best parts were) the violent scenes (weird, I know).

Like the retro-feel, but that's about it. Not a fan of the movie genre.

To those that know me in real life, I am something of a fan of the films of Martin Scorsese and Quentin Tarantino. When I first heard of this film, before I learned that this film was actually based on a novel, the first thing that came to mind was that this was going to be a copycat of Scorseseâ(TM)s Taxi Driver and Tarantinoâ(TM)s Grindhouse: Death Proof. What I got instead is a film that mirror Taxi Driver to the point that it becomes a gorgeous, beautiful love letter to what that film started with the craziness and fun of Death Proof. In short, Drive is just a fun, dark, complex character study. The main point in this film is Ryan Goslingâ(TM)s performance as the nameless driver (Clint Eastwood, anyone?). Watching this film, I just loved how he hides most of his emotions and shows the base essence of what a human is: unknown, tries to keep a low profile, does what he must to stay alive. Through out the film, we get a glimpse into a life we can only imagine, but not in the good way. To say Gosling does a good job with this film would be a tad bit of an understatement. Not only does he steal the show, he makes the film good. Being the first film I have seen by Nicolas Winding Refn, I honestly did not know what to expect. What I got was someone that, from what I have seen, grew up with Taxi Driver, admired the film, and wanted to make a film that keeps up with the same spirit of T.D. but have it be made for todayâ(TM)s generation. Does he accomplish this? In a few ways he does. The really is no fault in his direction of this film, except that he does borrow a lot from other film makers and tries to push this as an indie, ultra violent film. This is okay, but does get a littler tiring after a while. Now, I need to talk to whoever was the music supervisor on this film because, wow. The music used in this film is⦠just so good. It really is. I rarely complement the soundtrack for a film that is not completely original, but for this, I have to. The main reason is how the songs do compliment what is going on and helps underline the emotion that is their. Drive, in my opinion, is one of those film that I can see getting a rather huge fan base as time goes on, and for good reason. This film goes back to the days of all out violence, keeping it realistic yet stylized, and creates a character that you can see everyday on the streets. As an art-house film, it works on so many levels. While I have, through out this review, compared this to Taxi Driver and Death Proof, this is not a bad thing. Actually, it is a pretty good thing seeing as how both previously mentioned films are classics in their own right. This is, truly, an underrated film.

Directed by Nicholas Winding Refn, Bold Films, 2011. Starring Ryan Gosling, Carey Mulligan, Bryan Cranston and Albert Brooks. Based on the book by James Sallis

Genre: Action, Crime, Drama

Question: Do you ever see a preview for a movie and think "I know exactly what type of picture that will be?" You roll your eyes and say, "skip that." But then you see the movie and you are so surprised because it was different than you expected. I just got out of Drive and I was really hoping to see just an action, adventure, no-thought-required movie and that is not at all what I got. That is not a bad thing, by the way.

Sometimes movies are there for just pure escape. They are a means to forget about what's going on in your life, especially when your life isn't going so well. I go to the movies all the time so I am anywhere from being in a fantastic mood to stoic state of mind to absolute depression. Well, I was in one of those types of moods today but I am not going to share which one. However, I really just wanted something that I didn't have to focus on too hard. Honestly, I really thought Drive was a perfect candidate for that according to the preview I saw. Heck, look at the genre listing above. The preview showed a guy who is a "driver" for criminals with a lot of scenes filled with speeding cars. Perfect! Well, that is part of the movie but it turned into something else that I wasn't expecting - at all.

At first, I was a little flustered because I showed up late, which is so unlike me but I missed the previews. Yay! Then after the initial scene I relaxed. However, the story totally switched on me. I realized I was watching a story-line I wasn't expecting and did not want to see at the time. Well, I don't walk out on movies - ever - so I sat through it. Eventually, I resigned myself to the story and ended up enjoying the movie despite my initial need-for-speed type of movie.

The movie starts out the way I thought it would and I was pleased. Crime, cars, chase-scene. Perfect. However, one thing stood out immediately with this film - an 80's vibe. First, the font for Drive looks like it came off of a Flashdance or Miami Vice poster. I mean it's PINK and in a feminine style script. Then the music somehow brought me back to Risky Business with the electronic beat. It was just an odd juxtaposition to the style of movie. I brushed it aside because I knew this was not my normal genre. Then there is the jacket. I think I had a similar one when I was in third grade sans the scorpion.

As I stated above, Ryan Gosling's character is a driver. I want to say more but it was pleasant to discover what exactly he did and why he drove. He is quiet - I mean really quiet, mysterious and there is something behind those eyes that you can't figure out. However, I am a big fan of his and know he can act to the moon and back without saying a word so it worked for me.

As usual, watching Ryan Gosling act relaxed me, but there were a couple of others in here that also kept me in a calm state. First, there was Carey Mulligan. I won't tell you her connection in the story but there is something about her that intrigues me. She is just enjoyable to watch on-screen. Like Ryan Gosling's character she is quiet as well and the scenes between them, although unexpected, were tender, pure and brought a small grin to my face.

The other actor I have to mention gave such an opposite performance compared to ANYTHING I have ever seen him do - it was shocking. Albert Brooks. I really don't want to say any more because you NEED to see for yourself. I am still shaking at some of the scenes. Unbelievable.

Drive is a movie with two personalities. The first half is for one type of person and the second is for the other. I know that is vague, odd and doesn't sound appealing but somehow it worked. It worked really well. I must confess there were a couple of things that made me roll my eyes but I was in a picky mood today so I will let it slide for now.

Oh, and please don't go out and buy the jacket because you wanna look cool. It worked in the movie but it is not something that should be worn in public - trust me.

My favorite thing: The first half of the elevator scene.

My least favorite: The second half of the elevator scene.

Rating: R
Length: 100

Review: 8 out of 10

Drive oozes style, class and cool. It has all the ingredients of a classic thriller/neo noir, modern but with an 80s twist. There is definitely something for everyone and it looks so damn good. Nicolas Winding Refn is the director to look out for, Bronson was an ace film too and this is an great follow up. Ryan Gosling is fast becoming the actor of a generation too, he's living up to his reputation too, his performance seems effortless and is perfect. It's been branded by some as the best film of 2011, it's certainly up there as far as I'm concerned, it might be a three horse winner along with Black Swan and Blue Valentine.

Note: Do NOT watch the trailer before watching "Drive"; it'll ruin the entire experience. Read nothing about the synopsis. Do your best to not know a thing about the movie. So, much like my other reviews, this review is gonna be devoid of any information regarding the narrative.

"Drive" is a patient but thriller that grips you throughout the entire experience. An incredibly stylish and riveting movie. For my first viewing, I thought that the movie began to wear off because I believed that it never managed to innovate passed its prologue in terms of style and plot. Boy, was I WRONG. "Drive" consistently delivers striking, multilayered cinematography and sublime action scenes to make this one of the most memorable action art-house thrillers I've seen in an extremely long time.

The beginning scene is perfect. Definitely one of the best intros to an action film this year. It's smart, gripping, and brimming with a very cool style. It got me so invested into the movie that it pumped me up and got me anticipated for what would happen next. I was ready to sit through a great movie that would be remembered for a long time. And sadly, this wasn't the case... THE FIRST TIME I watched it. What was I thinking? Oh man, does "Drive" deliver. "Drive" tries to pull off a very 80's style -- the music, the costumes, the font... but it's not an 80's movie. This isn't to particularly say that this it failed to impress because clearly, "Drive"'s intently focused on delivering a riveting film that exudes an esoteric, magical quality.

Now, there are two different responses from movies that run off of a cliche plot:
1) We feel like it is super repetitive and dull
2) Though it is predictable, we can't manage but be enthralled due to a deft movie package.
The latter is what "Drive" is. Though it is predictable, it manages to be an impeccable, exquisite film at the top of its rank.

There's some incredibly rich lighting and vibrantly dynamic cinematography that exudes a richly mystic quality, sharing about the importance of humanity; there's some deep camerawork going on in this piece! The pacing is patient and refreshingly quiet which accentuates the tension. Unfortunately, the acting is dwindles between great and decent. There's a particular scene that Ryan Gosling shares with Carey Mulligan that really questioned the acting talent. I've seen enough films to understand when there are long pauses between dialogue to heighten and accentuate the atmosphere and emotions of the scene but it was not coupled with enough acting talent to upbuild the scene (it just seemed like in between their lines, they were smirking at each other by how awkward they felt). That's not to condemn Gosling or Mulligan -- I think they're great actors, but it doesn't take a genius to feel the tension of awkwardness in that particular scene.

"Drive" is a methodical, meticulously well-crafted thriller that delivers tension, thrills, and profound themes through its slow but patiently rewarding pacing, all coupled with a luscious and rich art-house style. This is a must watch.

What could've been a near-excellent film is often dragged down by its over-loud neo-80s soundtrack which effectively castrates some of the film's most powerful scenes, especially when combined with the occasional slow-motion or Gosling's hi-I'm-an-otherwise-mild-mannered-vigilante-psychopath vibe. That said, leading up to the second-to-last death in the movie when the music switches to a more orchestral sound, it proves much more effective, if relatively derivative, if for no other reason than that it no longer relies so heavily on the pseudo-80s sound.

Moreover, Gosling may not have been fully up to the task, but casting-wise, Refn could've done far worse as Gosling puts up a rather valiant effort. And that's basically where the film's weaknesses end.

Subtle, honest, distinct. Like a good western, our driver's quiet nature allows for surprise in each preceding scene. I don't want to elaborate for fear of ruining someone's adventure into this character. "Drive" is the kind of movie I imagine a zen-state Quentin Tarantino creating after a 10 year spiritual journey into the heart of man and nature.