After spending a couple of intense, emotionally draining perfs in "Blue Valentine" and "All Good Things," Gosling swings from one extreme to another, where channeling "Drive," Alain Delon encryption, such as hit man from "The Samouraï" - a cool-as-ice model allows authors to waive the affordable basic story needed to create compassionate criminal types. The key is a one-dimensional characters is that they live a strict code of conduct, and drivers without a name Gosling is no exception.
By sticking to its own set of rules, driver excels in his work, which corresponds to evade police during the night, only to play one of the following days on the set. Gosling icy stoicism of context, hardly a drop of sweat in the film loop in place from the start. In fact, actor reveals no emotion until the third time his character encounters beautiful neighbor Irene (Carey Mulligan) and her young son, Benicio (Kaden Leo). Only then will start crack a smile, offering the couple a trip at high speed along the culverts Los Angeles cement river.
Romance proves its production, Irene is not exactly simple. Benicio dad, Standard (Oscar Isaac), comes home from prison a week later, enrollment in a pilot scheme which involves stealing a million dollars for essentially honorable. Things go wrong, the issue of blood and brain splattered with a lack joy, and the pilot is to test their knightly intentions that those responsible for the robbery threatens to undermine and Benicio lost Irene, whose protection clearly enough to drive that is willing to risk his life problems.
Adapted by Hossein Amini (best known for "Wings of the Dove" and other classical literature in the price) by James Sallis' LA-set novel, "Drive" did not really know how to handle the sign of emptiness inside, but compensates with the surrounding rugged colorful protagonists with the package. Not Bryan Cranston ("Breaking Bad") as a substitute for the father who provides the drivers on its wheels, Ron Perlman as a ruthless head of systems running her strip-mall pizza joint, and Albert Brooks, a cast of delightful against type, as mentioned above, a producer-turned-crime-boss. There are women in the front, Vampy "Mad Men," a red Christina Hendricks makes them too short-sighted, and Mulligan, although undeniably sweet, seems to be too healthy, what is usually the PIC femme fatale role.
As Quentin Tarantino is a movie addict Refn exploitation, so his film references 70 and 80 mirror cult favorites such as "Live and Die in LA" over the replacement part, novels and films was relentless black Sallis. consider these bad influences can be perceived by the opening credits of neon lighting options Refn retro music - a mix of synthesizer tones and catchy tension ratchet club anthems - which together give the film its even tone.
While most action photos of muscle cars are flat visual and narrative, however, "Drive" shows an unmistakable style. With its economy tales parties is the kind of movie that launched her career, but was just beginning Refn, instead of the eighth feature film. However, marks the first Refn pay of Hollywood, giving the opportunity to work with people like Steven Soderbergh, go-to composer Martinez, Cliff, and Bryan Singer dp confidence, Newton Thomas Sigel, whose high-contrast widescreen frame to put a hard edge new headquarters of the East.
Among the many impressive setpieces, the most significant is a white-knuckle chase that once again underlines how little imagination went driving on the screen, to earn a deserved round of enthusiastic applause of the crowd Cannes. (Even though dozens of drivers will be credited, Gosling made a number of their stunts.)
However, it is surprising that a movie called "unity" has no more driving. Amini script explores stunt driver only condition, with only a thin connection between its holdings workdays high as dangerous and of privacy (in the form of a prosthetic mask is the brutality in the Regulations of the film's final accounts). The lack of character psychology is compensated by the practice and the iconic costume. Come Halloween, do not be surprised to see fans dressed in pilot with a degree in satin white jacket with a giant golden scorpion on his back. "Drive" is fetish thereby falling into details like the roar of an engine of GTO or the cracking of gloves Gosling, and should go a long way to improve director and star profiles.
Camera (color, widescreen), editor, Matthew Newman, music, Cliff Martinez, music supervisors, Brian McNelis, Eric Craig, production designer, Beth Mickle; artistic director, Christopher Tandon, decorator, Lisa Morgan session; designer costumes, Erin Benach; sound (Dolby Digital / SDDS / DTS), Robert Eber, sound designers, Lou Bender, Victor Ray Ennis, re-mixers, Robert Fernandez, David Patterson, stunt coordinator Darrin Prescott, effects coordinator special, Jimmy Lorimer, associate producer, Joe Fineman, assistant director, Frank Capra III, casting, Mindy Marin. Critics in Cannes Film Festival (competition), May 19, 2011. Length: 100 min.
Rating – A+
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