DRIVE (2011) - Movie Review

[@useofthirds481]

“I’m a huge fan of violence. Uhm- in movies…” 🤣

[@chodori2041]

Almost revealed her inner Hannibal Lecter there.

[@necromorph238]

Drive is one of my favorite movies. I found it to be extremely stimulating visually and in my earholes.

[@KydzPlays]

It’s amazing what directors can do with boring subject matter like instrumentalists and social networking.

[@philocleandes9302]

I hated the sound design during the car chase sequences. The engine noises didn't match what the car was doing. It's a pet peeve of mine.

[@Kino-xe6fr]

Real human bean

[@helvete_ingres4717]

> changes my life, I want to be the -Joker- Driver

[@wall-e7179]

This is a headphones film. The crunching of the leather gloves, the snapping bones, and the metal coming together during the car chases. Pure texture. I think Mulligan is the connection. The way she looks at herself in the mirror literally pinning herself together, and how she places her hand on his door at the end like offering a tender touch. Saying goodbye to what happiness she had.

[@santidontsurf.mp4]

This and Whiplash are probably the two films that awakened the cinema lover in me, and they'll always have a special place in my heart.

[@jdabishop9926]

I think the anti social awkward innocence might be the real thing that connects to this generation. It’s also the first big hit of 80s nostalgic craze

[@damoncurrie7103]

Thank you for that term social awkward innocence I've been searching for it my whole life

[@philocleandes9302]

@@damoncurrie7103 I'm not sure I understand it. I definitely see an antisocial awkwardness in the Zoomers, but not innocence. They are if anything, too jaded and cynical from seeing everything under the sun on the internet from the time they were 5 years old.

[@brokebackwetback5004]

The nice guys is a very underrated movie,and it had me thinking why hasn’t Ryan gosling done more comedies?

[@deepfocuslens]

I think he would be fantastic in more comedies. He has a great deadpan delivery that is more appealing for me than this.

[@EthanButler]

100% my favorite Gosling performance is in The Nice Guys. One of the funniest on-screen performances I've seen in years.

[@HowardLeaderman]

A problem is that finding good comedy scripts and creatives in the modern landscape is hard. Nice Guys happenes to be a great piece of work by Shane Black, but it's one of those projects that doesn't come to the desk of someone like Gosling often.

[@lukess.s]

People have been calling that movie underrated since it came out; it's not underrated. If anything it's overrated at this point.

[@filmsonsong]

I pray every day for a Nice Guys 2 announcement. Such an underrated movie.

[@eaglerabbit8922]

I loved this movie. It reminded me a lot of Michael Mann's Thief from 1981.

[@travisbickle2004]

There’s a very similar driving sequence in Walter Hill’s The Driver from 1978, also the character’s names are mostly unknown with Ryan O’Neal known as The Driver, Bruce Dern as The Detective etc. Quite a good movie if you haven’t seen it.

[@eaglerabbit8922]

@@travisbickle2004 Oh cool! Thanks for the recommendation. Will check it out!

[@TheWaynos73]

Thief is awesome.

[@jasonrepa]

If you liked Thief and Drive, you would definitely also like Manhunter!

[@EmanAugust]

Thief is incredible! Sooo great

[@felyxmillicent6538]

Drive is a masterpiece. Watching it in theaters when it came out was an awesome experience.

[@philocleandes9302]

That's a strong word. I think it has some iconic scenes but it's far from a masterpiece.

[@felyxmillicent6538]

@@philocleandes9302 I appreciate your response sir... and I will take it into consideration.

[@RedPhoneVideo]

There's something inside you. It's hard to explain. They're talkin' about you, boy. But you're still the same.

[@jamesmorgan3212]

I love Drive. I find it to be near perfect. It’s one of my favorite films .

[@hin6461]

Very interesting hearing your take on this movie. Most things that missed the mark for you, very much hit it for me. Making it one of my favourite movies.

[@nathanieledwards7150]

I'm glad to hear that im not the only one who has the scorpion jacket.

[@Misericorde9]

Tattling is what siblings are for.

[@johnnyjohnny2650]

Couldn't afford the jacket, but I did get the gloves.

[@musy345]

This movie is a modern classic. The music and acting are just unbelievable. The cinematography is also a sight to behold. I remember this coming out around the same time that Warrior (Tom Hardy) was coming out. I have to say those two movies are probably the best movies I've watched back-to-back in the cinema.

[@mroutcast8515]

Drive is one of the best movies of 2010s for me. I fucking strongly recommend it.

[@crowkangi]

I just watched it. what an awesome ride! gorgeous.

[@looney1023]

Curious what you think of The Neon Demon. I don't think it's a great film, but it stuck with me more than Drive did. Some very striking and beautiful dark images, and I love some of the themes it explores

[@joshuarose9391]

The Neon Demon is superior because Refn's color-blind aesthetic goes in tandem with the theme in a more cohesive way than it does in Drive.

[@v-trigger6137]

Neon Demon is certainly more deeper, substantially. but i can see where people are coming from, it will doesn't appeal everyone, it's more of a European style art house flick with those mindf**k plot. unlike Drive, which was more straight forward and mainstream

[@aaronshouting588]

Agreed! Neon Demon is quite the experience!!

[@damoncurrie7103]

The ending do you think that's what really happens in Hollywood? You read a lot of conspiracies you don't believe a lot of them but there's always that sneaking suspicion.

[@damoncurrie7103]

@@v-trigger6137 he gave me one thing I've always wanted being inside of the camera so abstract. One of the best Keanu Reeves performances I've ever seen. I always thought of the postmodern Hollywood innocent avenue Snow White if that makes any sense

[@PictureProductStudio]

Refreshing to hear someone not liking the soundtrack, even though I like it. The interesting part about it is that when you first see the movie it seems that "Nightcall" and "Real Human Being" should stuck with you, but ten years later I'm so much more drawn towards subtle but brilliant "Under Your Spell" (whole scene set to it is great) and the score. It's interesting that you've mentioned superhero movies there, because in 2011 it wasn't that oversaturated with superhero movies and both Gosling and Refn gone on record saying that... this is their version of a superhero movie, an agreed shared subtext on their part. More grounded in reality and mythos than mainstream sensibilities and commercial machine, but still a tad comic book-ish. A lovely take, really, the more you watch the movie with that mindset, the more it is evident there are a lot of super subtle parallels with superhero origin stories. The writer of the original novel (terrific, by the way, even more non-linear than the movie in a good way, like circling through memories) James Sallis seems to be in on the joke: in the sequel novel Driven (2012) there is an old movie for which Driver's mentor Shannon did the stunts and it is... About a nameless, nearly invisible character in a car just helping people out of nowhere. He pretty much summarizes the adaptation and nods to it.

[@Misericorde9]

“The Tick of the Clock” and “Under Your Spell” are the most memorable for me. Drive was made during what seems like a brief period where the Italians Do It Better label was ready to break into a wider audience via films and fashion.

[@v-trigger6137]

I think I can understand why some people don't like the soundtrack now. the retro 80s style synthwave has been over done now, literally you can hear it everywhere now that it doesn't weights any authenticity anymore. but back in 2011, this was a really fresh choice of soundtracks, something which wasn't experimented in a modern movie before, probably why so many people fell in love with it

[@Misericorde9]

@@v-trigger6137 I’d count the “ascent” of more-or-less synthwave music in popular media as running from Bronson to the first season of Stranger Things. Seeing Bronson was likely the first time a lot of people had ever heard, much less heard of, Glass Candy. Or even any contemporary act that was big on old-school analogue synths. And the track/context had nothing to do with nostalgia. By the time Stranger Things rolled around it finished the job of tying “music featuring the sounds of analogue synthesizers” to the railroad tracks of “1980s! Nostalgia!” bait.

[@deepfocuslens]

@@v-trigger6137 I love the 80s synth stuff. I just like it when its good.

[@Suite_annamite]

An example of not knowing how to imitate the 80's would be Dua Lipa and the Weeknd; as neither of them seem to have any no idea what the 80's were, and think they were just "pre-90's". Dua Lipa just has to just keep on with her "3rd generation disco". And of course, there were several different versions of 80's sounding music, be it French, German (Hi-NRG), Italian (Italo Disco), Japanese (City Pop and video game music), and even Soviet/ Russian style, apart from the American the British styles most of us already know. All of them sound different, but all of them sound authentic. Even Madonna had 3 versions of her 80's self : early-to-mid, mid, and late-80's-to early 90's! Something a lot of Gen-Y and Gen-Z pop stars are still confused about while romanticizing a music period they don't remember.

[@Seth_M-T]

I highly recommend watching the conversation between Nicolas Winding Refn and William Friedkin about Sorcerer. There's a moment where Refn compares Drive to Citizen Kane, and Friedkin says he needs to be sent to a hospital! They deliberately get on each other's nerves (in a fun way). It's one of my favourite conversations between two directors ever.

[@ctbullets1823]

It was an interesting watch. Didn't expect those 2 to be kindred spirits lol.

[@wwjd777maf]

This film remains special to me solely due to the fact that I was my introduction into art house film making. This one grabbed my 17 year old selfs attention and was the catalyst for my current love for cinema. I still throw it on every now and again.

[@jewelcitizen2567]

The last truly great film that I saw in the cinema. *_”My hands are a little dirty.”_* “So are mine.”

[@lukess.s]

Damn you seriously need to go to the flicks more often

[@jewelcitizen2567]

@@lukess.s I’ve not seen a better film since 2011. BladeRunner 2049 was decent but *_Drive_* is without question my favourite film of the past decade.

[@TheMisfitPond]

You must watch 1 film in the theater every 10 years.

[@ColombianThunder]

Damn bro, not even parasite?

[@jewelcitizen2567]

@@lukess.s @The Misfit Pond I notice neither of you have offered an example of what you regard as a superior alternative.

[@walthersorsa4847]

One of my favorite movies of the last decade. Great review Maggie and take care and stay safe 👍.

[@FlackooPretty]

This is one of my favorite movies. I do see where you are coming from. The one thing I definitely would not do is add a car chase, there was never a good car chase in any movie ever lol (except Matrix 2)

[@ctbullets1823]

There's a car chase in the beginning which is probably in the top 5 car chases ever on film. There's also one after the heist which is quite good. Not sure why the reviewer wanted more in the film lol. And I'm not a big fan of car chases and explosions in general.

[@booker80]

I definitely love drive it’s so reminiscent of those Neo noir early 80s Michael Mann aesthetic And he got the inspiration from the driver from Walter Hill 1978

[@Misericorde9]

Any chance of doing a review on The Driver or Le Samourai? PS - On a similar theme, in terms of protagonists, The Family/Crime City with Charles Bronson?

[@Demention94]

Drive is masterful. I agree on the violence, misguided or just shock value. Will you review The Neon Demon?

[@Demention94]

@The Rue Morgue I must have been smoking crack when I wrote that. I guess it juxtaposes the timid demeanor of the character nicely..

[@michaelbarrett9061]

The soundtrack was one of my favorite things in this movie. I liked the movie overall.

[@legochickenguy4938]

I totally agree with you that a huge reason this movie is so resonant is because guys don’t have any great modern action heroes, and this fills that void incredibly well

[@mcrazza]

Why do you horizontally flip the footage of you speaking to camera?

[@jamesb5]

I don’t agree with any of this. But appreciate your opinion.

[@chevexx1111]

I never got anything from Steve McQueen and don't understand his mystique.

[@rafaelp8268]

Can you please do a review/analysis on MY OWN PRIVATE IDAHO?? I recently watched it a couple days ago and it still hasn't left my head.

[@GrandSlamSilver]

I somewhat disagree with most of this, but all of your points are very compelling.

[@crowkangi]

same. I disagree with most of her points. to each their own for sure.

[@EthanButler]

Yeah I don't like this film very much. I understand and appreciate it's love a lot. These are the type of pictures that I feel need some of the most support. I just personally felt like it wasn't achieving a whole lot thematically. The emotional buildup felt unearned and none of the characters had qualities that I could connect with in any way. It's one that I respect visually, obviously (one of the best looking films I've ever seen) but it just doesn't really give me much else outside of that. Gosling is an actor I like watching but a lot of his roles feel emotionally distant and I think that's just from his stoicism that he seems to overutilize in my opinion. Great review as always, Maggie! Hearing you talk about film makes me feel smarter.

[@ZelindraArkathius]

Drive actually has nothing to do with stoicism.

[@gpapa31]

@9:50 you say you prefer operatic violence to silly cartoony like violence. Most Tarantino’s splatter violence scenes fall under the cartoony type (over exaggerated), right? I only ask because you have said you’re a big Tarantino fan, and was wondering if you feel the same about that aspect of his filmmaking. Great review btw, I love Drive although not a big fan of Gosling for the reasons you stated, too flat as an actor. Also agree on the missing car chase, something like what we got in Bullitt.

[@deepfocuslens]

XD I am not a big Tarantino fan

[@gpapa31]

@@deepfocuslens that’s the impression I got from some of your early videos reviewing his films. My bad.

[@helvete_ingres4717]

I don't really get the distinction, esp. if they're to be understood as diametric opposites - in the context of movie violence, 'cartoony' and 'operatic' as I understand them mean the same kind of idea, like 'over the top'. eg. Sergio Leone Westerns are definitely operatic, and you could say that same quality makes them 'cartoony'. Also I think 'passionate' is one thing violence should *not* be in films about organised crime and such imo (as Drive is) b/c 'passionate' violence undermines them thematically - these are films about people for whom violence is routine and 'another day at the office' and what the implications of such an existence might be. The impact of the violence in such films usually comes from their *banality* more than anything else. A good example would be the death of the bryan Cranston character in this movie, it stands out to me b/c of the complete lack of personal malice in it which acc makes it *more* disturbing

[@chodori2041]

@@helvete_ingres4717 The difference between cartoony and operatic violence is the level of self-awareness. The former winks at the audience, assuring them that its unrealistic portrayal is deliberate and ought to be enjoyed for reasons other than verisimilitude e.g. Tarantino cares about the aesthetic and cinematic qualities of deaths above all else. The latter doubles down on the emotional aspects of violence and often forgoes going over-the-top in a physical manner. It's about presentation, not consequence. The suicides of Romeo and Juliet are not especially gruesome or bloody but they're certainly operatic. Violence isn't routine for the Driver, albeit it is a clinical prosaic act for Bernie. If anything the argument would go that the scenes where the Driver kills and maims ought to be depicted as 'passionate'. He is acting for the sake of his unrequited love and crossing a personal moral line into unknown territory.

[@Suite_annamite]

@Helvete_Ingres: As you seem to be suggesting, it truly could be a false dichotomy. Because even the portrayal of "meaningful" gratuitous violence can just be distastefully melodramatic, such as in "The Old Rifle" / Le vieux fusil (1975), or simply poorly choreographed, like in most 80's and early 90's Hollywood action movies; while "meaningless" violence portrayed can still be beautiful ballet, like in "Crouching Tiger Hidden Dragon" (2000) or "The Blind Swordsman: Zatoichi" (2003).

[@akyhne]

The film had a very low budget. It was supposed to be another F&F franchise, but as the film developed, no distributer wanted a hand in the project. The film ended up having a budget equivalent to the first Terminator film, which was small.

[@sainstranger]

Is it non linear thou?

[@nunyabizness9787]

Ryan Gosling is definitely flat. He's like a plank they just prop up. But in this movie, because of this character, it works for him. It's like, Dolph Lundgren can't act, either, but he was still the best Punisher, because his wooden, dead-inside acting worked perfectly for that character.

[@TheJohnDoeLibraryRoom.]

Not enough people hold this opinion on Lundgren's Punisher. It's his very limitations as an actor that made him perfect for the role. Rewatched it a few months ago and he's still the best Frank Castle we've seen.

[@nunyabizness9787]

@@TheJohnDoeLibraryRoom. Yep, he was perfect. He really looked and acted like a guy whose emotions have just been burned out, who never sleeps, and only really looks alive when he's gunning down Mafia goons. For that role, his skills -- or lack -- fit exactly.

[@SallyMankus130]

Gosling has gravitated towards these types of characters in the later stages on his career. However, I can’t imagine anybody watching his performance in “The Believer” and claiming that it’s flat. It’s shocking to discover he was only 19 when he shot it, since it’s truly one of the most naturally explosive, fascinating performances within the last 30 years. I will also say that people often confuse subtle for flat. If the characters aren’t moving towards the audience, declaring it as such is an easy temptation. However, when the audience leans towards the characters and gazes behind the eyes, the subtlety emerges a lot of the time.

[@soysaucehairdye7869]

I love the similarities between Drive, Shane, and Bladerunner 2049. I also really love the soundtrack of Drive.

[@damoncurrie7103]

My head theory the driver and k are the same character

[@ZelindraArkathius]

Shane? what's Shane? is that the name of a movie? I'm curious because you've fitted this word in between two of my favorite movies of all time haha.

[@soysaucehairdye7869]

@@ZelindraArkathius Yeah Shane is a really old western movie that actually influenced Nicolas Winding Refn in making Drive.

[@chrisgrove7829]

Yeah. Albert Brooks really diverted our expectations for sure. Here we have someone who’s been compared aa like a west coast Woody Allen playing menacing really well:)

[@neilward5825]

Whenever I watch a complex, slow film I come and checkout your reviews. Even when I disagree with you I always find some agreement in my disagreement. With this one you said almost everything exactly as I had reviewed it in my own mind even down to the jarring violence. This is a beautiful film, but ultimately hollow. Its components are not used to service anything and ultimately it doesn't deliver what it seems to promise in the opening act.

[@purepalm9078]

Too Old to Die Young is Refn’s masterwork in my opinion.

[@johnnyjohnny2650]

I know it probably annoys you when people ask for reviews, but have you seen the Korean movie "Burning"? Far superior than Parasite imo.

[@ZelindraArkathius]

Drive is like an evolution of the french connection and bullitt. It takes from those movies and makes them better. Drive had so much more character, I was quite baffled at how much the movie was telling me with very little dialogue. It's one of the most emotionally evocative movies I've ever seen. Also, Drive has nothing to do with stoicism. Quiet doesn't mean stoicism lol.

[@Deftik]

Seems like you wanted the arthouse movie to be more mainstream.

[@franciscovega2042]

The redhead with the huge knockers. That I liked.

[@gcseve]

Am I the only one who didn’t enjoy Drive? I watched the Pusher trilogy beforehand. Fell in love with it. So I searched for more NWR work. Drive was his most recognized and praised film. But I just felt it was over the top, corny, and quite frankly boring. It was a complete contrast to the Pusher films.

[@crowkangi]

critics are a funny breed.

[@LeonWick526]

Since you didn't care much for this film, I'd suggest you watch Thief by Michael Mann (If you haven't done so already) and maybe do a review.

[@johnnyjohnny2650]

I mean what dude wouldn't want to be the Driver. Good looking, super laid back and chill, fascinating to cute chicks, can handle himself, has a sweet car and a sweet scorpion jacket. He's like 10 fantasy male stereotypes in one.

[@philocleandes9302]

Nice shoutout to James Coburn. I had a friend who was a dead ringer for Coburn and sadly he died in a stupid DUI accident (he was the passenger) in 2016. I had always told him that he needed to go to Hollywood to fulfill his destiny. I wish he had taken my advice.

[@MaxPowers-op1pe]

Drive is a modern day masterpiece

[@histubeness]

Drive was my favorite film of 2011, saw it 7 times in it's initial run, 4 of them at Arclight Hollywood. Everything in it worked for me, including the soundtrack, despite the fact that it has logic holes you could --drive through. Named best film of 2011 by Peter Travers, head film critic for Rolling Stone.

[@mikeb1613]

It definitely borrowed style from Thief, which in my opinion is a much better character study. I don't hate drive as a good throwback film though.

[@killuazoldyck7952]

i think your making a mistake by calling it an action movie in the first place. i mean sure it has action but that isnt the point its way more of a romance or gangster film.

[@bobdigi500]

Watched it last night. Awesome film. Intriguing character and I liked the fact hundreds of words are said without a word being spoken.

[@adrianeyre3630]

You’re a real good movie reviewer. If that’s the right word. Honestly you did a really great job. I really enjoyed them movie it kinda touched me

[@stonaraptor8196]

Audio sounds way better. Have you seen Winding Refn's first movie Pusher from 1996? He was only 25 when he made that.

[@speabody]

As respectful as your commentary is I will in kind respectfully disagree, or at least question the logic of your criticisms. As a movie about a stunt driver I sort of agree that it should have more than two chase scenes. But then the movie isn't about that. If you think about it his profession is mostly incidental, except for the part where it's what gets the driver involved with Bernie. The criticism is something I hadn't considered, but now that I have I don't care that there weren't more car chases. It's a drama, not an action movie. Maybe it was marketed as such? The movie title could be seen as deceiving in that way. I completely disagree about the violence being cartoonish. The only example I can think of is the fork in the eye, which I don't at all find silly. I still cringe. The stabs in the throat, the hammering of the hand, the murder of Bryan Cranston's character, the intimacy of the double stab at the end. Maybe Blanche's death was cartoonish? But slow-mo has that effect. Are you telling me Gosling's elevator stomp wasn't operatic? It sure wasn't cartoonish. It was slow-mo-ed with dramatic music playing over it, which is operatic as hell. Despite how stylized this beat is shot the movie never glosses over the fact that he's crushing a man's skull. The look on Gosling's face when he looks to Carey Mulligan does not gloss over the violence. In fact, it's a way of (ironically) using stylization to say "yes this is brutal." It's incongruous to say that the things that make it operatic (music and slow-mo, typically) are the same things that making it cartoonish. I'm curious to know what your idea/example of violence that is operatic is, because there's a very fine line between cartoonish and operatic. I'd even argue that operatic violence is inseparable from cartoonish violence. The point of each is to detach and distance the audience, which is a broad criticism you have of the movie- that it's distant. Standard's death (which I disagree further about below is the most detached- gunfire at a distance. The rest of the violence is very intimate-- hammer, knife, fork, razor. I completely disagree about the "mishandling" of Cranston's death. First off, while an important character, he's not the main character. Also, early on in the movie Bernie sets him up as an unlucky man. He bluntly tells is that Cranston is doomed/cursed. I don't see how one can complain about the handling of his character when, for as minor a role as he has, he has a definitive, foreshadowed arc. His death is, given the circumstances, rather dignified. Bernie absolutely doesn't want to kill him. He expresses sincere disappointment that things went south, and even goes so far as to "calm" him--"it's done, it's over"--after the act. He cleans the razor and puts it away, very business-like. The fact that the person who killed him was completely sympathetic to him and clearly did NOT want him to die is proof enough that his death had gravity. Further mourning is superfluous to the story. (Can you imagine him surviving long enough to mutter his last words to the driver? Ugh.) On the contrary, I don't think Standard's death was all that moving. Sure, he had a family, and busted the stereotype by being a likeable family man who wants to turn a new leaf rather than a thug. It would've been easy, particularly in assuaging the guilt of the driver moving in on someone else's family. But we just met him. We've already spent too long getting to know the other characters that, decent as he is, we can't help but feel like he's a bit of an interloper. (Which might say more about the audience than the character.) Obviously we're all just sharing opinions but I'm shocked you find his death moving. We're given no time to care about him. Ironically, him subverting expectations and being a decent man ends up being another hackneyed trope. We're *supposed* to care because he turns out to not be a stereotype, merely in order to raise the stakes. Our only inroad to him as a character is through his relationship to the main characters, which we're already attached to. I can't care about someone who was never allowed to stand apart as a discrete character. Your comment about your expectations raised an interesting question. Yes, an artist needs an audience. But how much do they "owe" the audience? Your criticisms often touched on your expectations of the movie. As stylized as it was at moments I don't think this movie tried to be anything other than a drama with elements of crime, action, and noir. I don't think it wanted to do anything other than tell a story with these particular characters, and I think it did it successfully. I don't think getting the audience to connect with the characters was a goal of the film. Should it even be? At times gritty, at times beautiful--those moments usually involve Carey Mulligan--I didn't feel too emotionally invested. And that's fine. The story was compelling enough. Emotional connection is a by-product of movies but it doesn't need to be a goal. I personally don't need to empathize (which is a kind of narcissism, if you think about it "I want my art to represent how I feel!" ). Sometimes you just want to tell a story and entertain, which Drive does. As far as expectations go, you reference other movies and performers. It is possible you're not just saying "it's not this other movie I like"? You mention Steve McQueen a lot, so it feels like perhaps you're saying that Drive isn't Bullitt. You expect more chases because Bullitt and McQueen has more chases. It's fine that you're biased for him and against Gosling (I personally don't get invested in celebrity personality, though criticism of the characters he plays is valid) but it could just be that he's not the other guy (or movie) you like? Also you're dead wrong on the music :) Though the best songs, "Tick of the Clock" and "Under Your Spell", are not necessarily 80s homage. There was a comment that noted that back in 2011 synthwave and 80s vibes had not yet been done to death. Salient point.

[@elfambino4066]

The score by Cliff Martinez is something that really stuck with me years later Its campy at times and then it suddenly changes to something surreal and dreamy and totally the opposite

[@davidclark2702]

Thank you for this review. You've addressed pretty much all my problems with this movie especially Gosling. I left the movie feeling nothing.

[@kill3rs529]

I like that there are so many views of what this film is for me I find it a tragic love story of a man who wants to give and be loved but because of his nature he'll never make that happen even though he tries to do the right thing

[@shubhagarwal9812]

At its center, it's a romance film. Watch this with that perspective.

[@grimreads]

I kind of agree with the review (but for the soundtrack, it was the best part of the movie). Very well made but I will still take Baby Driver as my taste of modern twist on the car heist movie. The success can be because of how foreign it was to a lot of Holywood viewers

[@sleep6837]

I think you missed the intention of the sparse and brutal violence. As a massive fan of the film, I took the use of violence as an intentionally shocking contrast between the life of The Driver away from Irene and the illusion he's established when he's around her. Audiences are so numb to violence in media, so I love how surprising and brutal the violent scenes are. In addition to that, I think the Driver has been lying to himself, believing himself to be a much better person than he is, mostly to appeal to Irene and her son. (This is also alluded to in the short conversation between The Driver and Irene's son about 'bad guys.') When the first truly brutal scene hits, (the motel attack,) it's a shock to Gosling's character, as well as the audience. At the scene's end, The Driver just looks around silently at the carnage and is reminded of what he's capable of. On a side note, despite our difference of opinion on the film, I enjoyed how thorough and literate you were breaking down your points on this movie. Great video!

[@damoncurrie7103]

He was so many contradictions A beautiful sensitive longing repressed monstrous wallflower that blended in with the composition. At times it was like a silent film Remind me of Michael Mann I love that shark scene

[@samuelbowles3988]

Drive is like a really catchy pop single: great the first few spins, then gets a bit tiresome because it's ultimately all surface. Only God Forgives, on the other hand, is close to unwatchable: a coffee table book as a movie (with added childish ultra-violence).

[@PictureProductStudio]

Even though I like both movies, this comparison is spot on. It is especially interesting considering that I don't mind coffee table books for a good measure. :)

[@linkbiff1054]

You took the words right out of my mouth! The movie does have its strength, but is mostly hollow.

[@johnebailor]

Beautifully made film but I actually enjoyed the soundtrack more than the movie. This was Colt Seavers right? 😂

[@acouelfoly]

Once again we share the same views! Except for the music which I find appropriate. I think it fits the dreamy aspect of the movie and the main character's personnality (kind of simple-minded). Also, I'd add that I have always felt that this movie worked in part not because Refn is a genius but because he has been a bit lucky. I haven't watched it for a long time but I remember thinking that some scenes looked atrocious or silly on a visual level while I'd guess he wanted it to look beautiful without using silliness as a figure of style (like the car ride in the canal if I remember well).

[@dreamteamamv8177]

Love your reviews 💕

[@metalmanny666]

Drive has good cinematography

[@arjunsekhar3891]

One of the reasons for it's endurance is the soundtrack.

[@aaronbennett7474]

There is a book its called driven by dave sallis...its based on what happens after the film version of his fist book funny enough called drive...The film too me is cinematic art esp the way its shot..The soundtrack is a reflection of that ... Very much like the Guest in how it uses 80s lighting and diologue (crap spelling) which is a very good film in its own right...There are questions one asks after the film...Who is he ?? name where hes from? etc etc..But the same could be said for pale rider who is he where is he from...This is when we us are minds too answer those questions...Nice review and respect from across the pond.

[@homelessjesse9453]

I had some problems with this movie. Ryan Gosling never really impressed me as the protagonist. Not questioning his acting abilities, I just didn't care for the way his character was written. Maybe it was the lack of any interesting dialogue from him, besides mentioning his toothpick.

[@cable54-guy15]

I’m a big fan of this movie. I always felt even the first time watching it that Michael Mann’s Thief had a big influence on it. You mention violence in movies. Have you seen Green Room?

[@shclumbachus3706]

"i love violence, i'm a huge fan of violence" ~deepfocuslens 2021

[@akloyathri]

Never liked Ryan Gosling acting other then in comedies but I’m gonna give it a try on this one

[@russellb5573]

What bendy fascinating fingers you have. Agree with what you say. It left me a wee bit numb! Wasn't that taken by 'Baby Driver' particularly, either. Would be v interested to hear your thoughts on that one day. They're both worth a watch but left me wanting, sadly

[@GS42SCHOPAWE]

Wrong

[@AdamFishkin]

A lack of texture???????????????????????? Next time I see "Drive" I'm making sure to be as sober as a fucking judge, because I want to know what you mean by that. You mentioned "Bullitt" and "The French Connection" right after I thought of them as a comparison. "Bullitt" suffers in hindsight from being the inventor of so many police-procedural clichés that litter film and TV; I enjoy "Bullitt" on a technical level but then face crippling sadness at the pale echoes it creates. "The French Connection" is one of many products of the early 70s that frustrates me: William Friedkin didn't yet have a command of the medium and so parts of what he and his crew (i.e. the editors) did are stronger than others. Gene Hackman's performance carries so much but the compelling narrative is undone by a botched ending, which seems to aim from grim and ambiguous but lands with a grumpy aimlessness. (I'm almost shocked that it's the same director as "The Exorcist", with Friedkin vaulting miles higher in the 2-year gap with structure and tone.) What could be the case here is just subjectivity. We critics form calluses at different speeds against different curves in the cinematic landscape.

[@jrlakin370]

Some great films came out 2010-2015. It was a mini golden era! 😆

[@user-xv2og9un7d]

Ended my watching trailer/ clips before hand All given away

[@ruly8153]

Can you review Brazil by Terry Gilliam?

[@eternaldoorman5228]

Released in 2011 and became a cult classic, ... in that time I have been to the cinema twice, ... once to see Star Wars VII, and once to see Boquerón. Would you say I'm out of touch? :-)

[@dompuma9620]

The movie is a masterpiece in only 1 hour 40 minutes. Hard to believe some chick tried to sue the filmmakers for lack of action LOL. Also check out Every Frame a Painting's analysis of the quadrant system.

[@finnh5335]

Hey could you review "Seven Beauties" or " love and anarchy ". Just recently watched the 2 of them both wonderful films, and they are made by my favorite director Lina Wertmuller. Love your channel and I always look forward to your videos

[@johnmcguire1792]

Really good movie.

[@hr3800]

Its Time baby You got it Write and make it You have it.. You like me 🍀🌟🍀

[@marcuscollins6954]

It's not necessarily a similar movie, but I'd really like to hear your thoughts on the film Brazil by Terry Gilliam

[@TheWaynos73]

I really liked Drive. The Neon Demon, not so much.

[@helvete_ingres4717]

1:28 - there was a greentext about this..'a real human bean'

[@philocleandes9302]

I agree completely about Gosling. He's just not all there somehow. Maybe it's that lazy eye, but for some reason he's always seemed like an automaton to me. Not a big fan at all. Drive left me feeling empty. Some cool elements, but there are technical problems with the sound editing and choreography that bothered me throughout the film. Ron Perlman, Oscar Issac and Albert Brooks were good (in fact I wanted to know more about Isaac's character than Gosling's), and Cranston seemed completely miscast.

[@philocleandes9302]

@@theruemorgue1048 You are probably 12 so go pound sand.

[@hr3800]

PHASE 4 by Saul bass Look at that gem

[@Throwingness]

A car chase should have been in the third act YES!

[@alexanderg1297]

The opening of this movie is great but after that the movie drags for me.

[@Suite_annamite]

Welcome to the World of Winding Refn ... *Next stop:* "The Neon Demon" (2016). We hope you enjoy your stay!

[@damianstarks3338]

A lot of people love this movie.

[@jamesrogers2382]

Overrated. Not awful though.

[@ShadowframeProductions]

Love it, one of my favs. Awesome cast too

[@lathanandrews417]

Are you ever impressed? 😂