Nicolas Refn sets up a great arthouse favorite that makes it one of the best films of recent history. Boasting great visuals topped off with a can of whoop-ass, the film boasts something more than Gosling playing it cool. He's a one-and-done man stuck in the wrong trying to make everything right, even if what he does in the process seems out of left field. But his tentative relationship with Mulligan, along with Cranston, Perlman, and Brooks' dialogue, are what hold it above the noise. It's a trip to the real Los Angeles, diving in head first into the down and dirty and on occasion will sometimes surface to catch a few breaths. The best way to see it is to live it large.