Since the film approach, the models tend to rise. This year, for example, was a clear focus on the Abuse of the film, nostalgia, and author-driven film, but the best, and an intriguing model is a mini-movie in my opinion the wrong direction, that is, the movies you refer to a thing, and, finally, to offer something completely different from their end.
Unlike Woody Allen midnight in Paris, and the skin where I live, let alone Hara-kiri, Drive is a directional yaw is a tonal rather than a theme or material. What at first looks like an indie love story, with subplots running in the background deviates wildly in a way more ragged.
Ryan Gosling (new darling of Cannes for this and last year's haunting Blue Valentine) stars as stunt-driver/mechanic the day, the lights of the moon which, as a getaway driver who is also one that Leon and just plain cool seconded as Bullitt. This driver is facing the world when he meets his neighbor (Carey Mulligan, who looks fantastic) Irene, and was immediately struck by her (and her son, Benicio). The problem is that Irene has a husband ex-convict (Standard, played by Oscar Isaac) who discover that they were given early release, and do not take too kindly to drivers musculature of his family. When the driver discovers standard beaten and bloody in the parking lot, he serves out the last job that will see the end of the criminals managed to get out and go straight. Only things are not as simple as the film in a chaos, thrill ride ultra-violent harassment after harassment of swerving.
Brooks and Afro-Albert is good!
To begin to see if the driver works almost like a fusion type of superhero (with its ambiguous existence), and an artificial island figurine samurai assassin and photos revenge. The analogy of superheroes fell slightly due to the secession of the driver clear moral, but there is certainly something to say to the description of others, but it is much more rewarding to see it as a character lifted straight from a Western. As director Nicolas Winding Refn confirms that it is a character entirely defined by what it can do rather than what it is (hence the name, or lack thereof), and with the character of steel (a heady mix Eastwood and McQueen), and how Refn shoots him, it is best to think like an old Gun Slinger immersed in the modern world.
While the film arranged between the mind one-man army of delirious joy of the West and a share for the year (it will be clear when you get to see, and I no interest in destroying it here) but Winding Refn would not be as simple as that, would it now? Instead of creating a simple variant of Tarantino, the film begins with a persistent, carefully composed shots, and establishes an indie vibe to some, and introduce a touching romance between the protagonist and painted his neighbor. The way these films are shot much closer to Blue Valentine as they are Bullitt, but the effect of having to discordant triumphantly alongside the more hype the violence and coldness that comes after, it is surprisingly effective.
Perhaps this is pronounced stylistic choice to prioritize the emptiness of art history, while he is committing a series of events, there are some details of subtextual characterization, little, or even dialogue - which is supposed to just enjoy the movie shiny surfaces and bold?
Either way I liked it.
Typically, Ryan Gosling is a great driver, unnamed peak, even if he is really very little to do other than being the epitome of cool. In the first half, although he will meet with Mulligan and the character of his speech is absent, and he says, and seems more than a minute gestures of an infinite number of lines could hope for. In fact, his relationship with Irene is defined almost entirely lingering glances, fleeting smiles and a tangible chemistry, which is apparently a genuine actors, because of their characters on the screen.
Indeed, the success Gosling role because of the way Winding Refn shoots character. Composition of the photo is exactly worked to frame the character and gives it an immediate presence on the screen iconic (including a fantastic shot, reminiscent of Batman Bale look over the night of Gotham). As he drives, camera sitting next to him, spend time much more lovingly focused on his face as sharp to the world, he traveled through and the decision to shoot in low-scenes forces simply manipulated visual Gravitas scenes.
This is one of the best models I have not seen in competition this year, with Gosling and Mulligan to be joined by Bryan Cranston (ridiculous to think that only a few years ago, was known only to Malcolm in the middle), Oscar Isaac , Christina Hendricks, Ron Perlman, and best of all, Albert Brooks. Brooks is almost as cool as Gosling in the portrait of a local gangster, what kind of Cranston manager attempts first to provide a donor for the race team, wants the driver to the front, and his imposing presence of bright colors and temperament are the perfect balance of Gosling. Perlman is its counterpoint, a kind of gangster too abrasive and downright rude to someone who does, but when he did his mixed with poison and swear, and it is clear that to come out and said 's fun to create a gangster movie Series B no longer is a composite of all the stereotypes of gangster movies and no less exceptional to see.
Almost as in the film as a real person, synth-pop soundtrack is another great tool in the arsenal used to drive (if it was ear splittingly high, where I sat in the Salle Debussy), which helps to build what essentially pseudo-nostalgic feel that is such a success for the program of exploitation of the film, adding a detachment of the things that are very good. The only problem I had with the soundtrack is the constant use of a song that has the line "Now you're a real hero and a man" who is about as blatant a message to the movie as possible so that it underestimates viewers a movie experience to a certain extent. Fine use it once, but not the final scenes, where the message seems almost vulgar.
At the end of the day, walking advertisement for Winding Refn brilliant abilities as a filmmaker. His film is beautiful here, and never give up, even when the film takes a turn to the most obvious exploitation-such as roads. I already want to see again.
The Upside: It's not as good as the artist, but it's damn close: an exercise / modern Western mixed with excellent over-the-top sequences and joyful abandon in his mind. Long Winding Refn may rule.
The downside: the music, while brilliantly chosen, it was clearly too strong in the movie of Debussy, and the final song was too obvious in its message of what we are supposed to make the film.
