As the blood flowed in the face of Ryan Gosling in director Nicolas Winding Refn disk as the Cannes audience could not help laughing. It was a laugh, as a result of something funny, it was a laugh of relief this year's Cannes Film Festival has provided a wealth of diversity and the ride seems to be aggression, Capstone head trampling. But as violent and intense as the film may be, has its share of laughter and moments of silence honest, making it the best film I saw at the festival this year. As to the merits - sit - there are plenty of praise for being delivered.
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"Drive" is a FilmDistrict version, directed by Nicolas Winding Refn and is rated R for strong brutal bloody violence, language and nudity.
The cast includes Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks and Ron Perlman.
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Let's start with Ryan Gosling, who turns a cold and stoic performance as a driver, mechanic, Hollywood stuntman and every stock car driver that sometimes the moon illuminates a driver fleeing criminal. Yes, he keeps busy. Impassive and almost without emotion, Gosling creates a character who is calm and cool under pressure, a methodical, focused and reliable, and, of course, a hell of a driver.
We are witnessing the beginning of the driver's skills, although this opening scene is just a taste of the film has to offer action-based entertainment, but it's so good to start anything. As the scene comes to a close Refn space for the opening credits, which are scrawled with the same font used for Purple Rain by Prince, which is only appropriate considering repeated use Refn '80s-esque pop music, a trend continues welcomingly Drive.
But as far as this film has the punch given its unique selection of songs and score, much can be inferred from what is not heard. The pilot is not subject to blind and silence talk of character Harken back to the heroes of hard rock and anti-heroes played by the likes of Steve McQueen and Clint Eastwood. Men of action, not words. Driver is the man himself in his most intimate moments we have to know his neighbor, Irene (Carey Mulligan).
Irene lives at home with his son (Kaden Leos) Benicio while her husband, Standard (Oscar Isaac), is in jail. Irene and the pilot of an immediate, although the connection innocent, and as they approach one another, as in the Benicio.
It would be remiss if I did not stop for a moment here to mention scenes of Gosling and Mulligan shared. Silent Dialogue in the first place, these are the scenes where we say more, when you say nothing. I can not think of me romantic life (perhaps in Before Sunset?), Who has so much confidence just said. It is an absolute understanding of human communication, and screenwriter Hossein Amini and Refn and a lot of screenwriters and directors could learn from it.
Returning to detail, mood changes, while the standard driver escapes from prison is now looking out, but not for long as the normal people have to bad a lot of money and try to help clear his debt, and Irene and Benicio sure the driver agrees to act as a soldier during the stand Wheelman shop. Unfortunately for all parties, robbery goes incredibly wrong, what a hell of a chase sequence, which finally ends with the image Gosling blood splattered face indicated opening. It is ten minutes, no less fun than anything I've seen fest last nine days.
Now with a gym bag of money in his possession and the need to maintain and those who care about safety, drivers need to understand how it will change things in their favor. Not one to mince words, the driver takes a hammer and another was a man in his shoe while pound your face more and more and more. If you believe that Jessica Alba has a great The Killer Inside Me, I wonder what is your impression of the disappearance of this poor man.
E ', however, for example, drive is not a one-man show. In fact, supporting the performance, Albert Brooks (Broadcast News), Bryan Cranston ("Breaking Bad") and Ron Perlman (Cronos) are all excellent, each bringing their own little flavor characteristics.
Cranston plays Shannon, the driver manager / leader, a sort of dream bottom feeder. She put him on a flight a few concerts, oversees his work as a stunt, and he employs in his auto shop. His lameness substantial lead on the wrong side of the first crime, which means they take the risk again, when he decides to ask Bernie Rose (Brooks) is the money to help fund the race team with driver at the wheel.
Brooks is a jewel like Rose. It has wheels and dealer with a shady promoters and supporters when he decides to help Shannon out, he is doing so bringing aspiring mob boss Ron Perlman called Nino, who take advantage of every opportunity to do this, the character, and every example you just want see more. Perlman and the scenes are full of Brooks, one of which ends up the blood and "goodbye", which was in the audience moving.
Finally we come to Refn, director, I can not get enough, then Bronson show two years ago, a movie I will never tire of. Refn is a kind of no excuses manager. He puts on the screen what he wants, not what the focus group determined the best-selling. His films are of major Hollywood studios will not do, but will steal for new talent, as they did when Christopher Nolan Bronson grabbed Tom Hardy Inception.
The signature on the promenade is Refn, music to the atmosphere. The soundtracks of the films to the point that they are not exactly hit the reality, but a hyper-reality where you can connect with the characters, but also enjoy the spectacle of absurdity. Refn talent knows no bounds, his combination of action packed bloody chaos associated with the patient include prolonged periods of silence properly display a manager in control of their environment. Add to that an impressive talent for casting the right people at all times, and you have a movie you want to watch again and again.
GRADE: A +
Rating – A+
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