Drive isn't about action. It isn't about blood, fighting, sex, drugs, or even, driving
This new "Action/Thriller" movie is an artistic endeavor showcasing a general blueprint intellectually analogous to that of most Quentin Tarantino movies.
The film's composition is a fascinating interpretation of film noir and unlike most action recent action movies does not take advantage of new technology for intense, fiery action scenes. Conversely, the film takes advantage of long takes in which movements and conversations are slowly, rhythmically paced; actors are often allowed to react in real time without cuts. With exquisite cinematography and a disconcerting electronica, dream-like score coupled with shockingly brutal and explicit scenes of violence, this film works to invoke the cinematic ideals showcased in Quentin Tarantino classics like Kill Bill, and Pulp Fiction with one notable exception – Drive has virtually no dialogue.
Director Nicolas Refn (of not much else) takes an overly ambitious step by excluding dialogue from the film, and, although the silences emphasize the impressive cinematographic qualities of the film, these noiseless moments make the viewing experience alienating and awkward for the viewers. The movie's quiet nature is augmented by the fact that the movie's protagonist, Ryan Gosling, is a nameless mechanic/movie stunt- car driving/robbery getaway driver is monosyllabic for the entirety of the film. Furthermore, the equally whispery co-star, Carey Mulligan, plays a relatively small, nearly forgettable role in the film.
The other key misleading point about the movie is that the main character, the driver, doesn't really, well drive. Just as Quentin Tarantino applied the theory in his lesser-known, car-chase slasher Death Proof, Refn's Drive revolves around the idea more than the character himself. In both movies, characters live and breathe in these environments – their cars serving merely as tools. However, Death Proof showcased an intense driving scene riddled with the special- effects, action-laden shots viewers have come to know. With Drive, however, viewers will come to remember the essence of the silent, artistically portrayed driver – not the machines, or even the ways in which he commandeers them.
For most Quentin Tarantino films, this disturbingly graphic, nauseatingly artistic film should be a satisfactory respite from the 21st century, Killer Elite action films that have recently roared into theaters. However, for viewers looking for more stimulating, exciting, and thrilling viewing experiences this movie isn't worth the ticket price.
The film's composition is a fascinating interpretation of film noir and unlike most action recent action movies does not take advantage of new technology for intense, fiery action scenes. Conversely, the film takes advantage of long takes in which movements and conversations are slowly, rhythmically paced; actors are often allowed to react in real time without cuts. With exquisite cinematography and a disconcerting electronica, dream-like score coupled with shockingly brutal and explicit scenes of violence, this film works to invoke the cinematic ideals showcased in Quentin Tarantino classics like Kill Bill, and Pulp Fiction with one notable exception – Drive has virtually no dialogue.
Director Nicolas Refn (of not much else) takes an overly ambitious step by excluding dialogue from the film, and, although the silences emphasize the impressive cinematographic qualities of the film, these noiseless moments make the viewing experience alienating and awkward for the viewers. The movie's quiet nature is augmented by the fact that the movie's protagonist, Ryan Gosling, is a nameless mechanic/movie stunt- car driving/robbery getaway driver is monosyllabic for the entirety of the film. Furthermore, the equally whispery co-star, Carey Mulligan, plays a relatively small, nearly forgettable role in the film.
The other key misleading point about the movie is that the main character, the driver, doesn't really, well drive. Just as Quentin Tarantino applied the theory in his lesser-known, car-chase slasher Death Proof, Refn's Drive revolves around the idea more than the character himself. In both movies, characters live and breathe in these environments – their cars serving merely as tools. However, Death Proof showcased an intense driving scene riddled with the special- effects, action-laden shots viewers have come to know. With Drive, however, viewers will come to remember the essence of the silent, artistically portrayed driver – not the machines, or even the ways in which he commandeers them.
For most Quentin Tarantino films, this disturbingly graphic, nauseatingly artistic film should be a satisfactory respite from the 21st century, Killer Elite action films that have recently roared into theaters. However, for viewers looking for more stimulating, exciting, and thrilling viewing experiences this movie isn't worth the ticket price.