Dynamic and entertaining neo-noir plot trumps Gosling and Mulligan wooden parts and performances

Rating: 6/10 (4 February 2012)

'Drive' is directed by Nicholas Winding Refn, a Danish director known for films with a violent bent. 'Drive' is no exception, as it emulates some of the darker film noirs of the 40s and 50s as well as the neo-noirs of later years. Refn shot 'Drive' in a contemporary Los Angeles but due to the use of an 80s, synth pop score, the story feels like it's more from the 80s rather than today (sounds like some of those synth tracks with the choppy bass parts were 'borrowed' from one of Hall and Oates' more popular hits).
For women who might be drawn to the film due to the casting of Ryan ('The Hunk') Gosling in the lead role, be forewarned that 'Drive' is anything but a 'chick flick'. Gosling, in an unnamed part, moonlights as a getaway driver but has more respectable jobs as a part-time stunt driver and auto mechanic. Unfortunately, Gosling has little dialogue and speaks mostly in a monotone. Even worse is Carey Mulligan who plays Irene, the Driver's next door neighbor and mother of a five year old, who appears to drift about in a perpetual stupor (I seem to recall that when Driver crushes the hit man's head in the elevator, Irene backs off in shock but later never discusses or alludes to the incident at all).
Things pick up in terms of action when Irene's husband, Standard, is released from prison but is being forced to commit another robbery by a brute named Cook, who claims Standard still owes a debt to former inmate associates who 'protected' him while incarcerated. A normal guy might feel some jealousy when another man encroaches on his territory, but 'Knight-in-Shining Armor' Gosling is ready to help Standard simply because he's taken a real liking to Irene and the kid.
'Drive' soon begins to shine through some neat twists and turns in the plot as well as the introduction of cool supporting players who overshadow both Mr. Gosling and Ms. Mulligan. Some critics have argued that the violence in 'Drive' is gratuitous, but I beg to differ. It might be a bit over the top, but is never cartoonish. In fact, the violence underscores the menacing, ruthless character of the antagonists Gosling's Driver must face.
Cook beats Standard to a bloody pulp and the shocks are just beginning. There's the big double cross at the pawn shop, where Standard is shot in the back and later Cook's moll, Blanche, is gunned down at the motel room (there was a significant gasp that could be heard throughout the theater from a taken aback audience when the moll is dispatched). Gosling also gets the chance to be ruthless when he works Cook over. Later Bernie (a mobster played by Albert Brooks, who earlier backed the Driver and Shannon, the owner of the auto body shop where the Driver worked, in a joint stock car racing venture) kills Cook by stabbing him in the face. In addition to the aforementioned 'stomping in the elevator' scene, Bernie eliminates Shannon 'mercifully' by slicing his artery, causing the Driver's former pal, to slowly bleed to death.
Who would have thought that comedian Albert Brooks, could actually be so good as an amoral crime boss? Bryan Cranston is also excellent as the Driver's seedy employer. Ron Perlman is always great playing the heavy but I would have liked to have seen more of him, as his character Nino's declaration of his Jewishness, remains wholly underdeveloped.
The film's climax, where the Driver cuts off Nino's car on the highway, leading to his death by drowning at the hands of the Driver, was quite exciting. Less exciting and more awkward was the Driver's agreement to meet Bernie in public and return the money. For a person as crafty as the driver, didn't he anticipate that Bernie would try and hurt him at the scene of their meeting place? Or is it that he just didn't care? One other thing I wondered about at film's end. If the loot belonged to the east coast Mafia, even though Bernie and Nino were now dead, wouldn't the Mafioso still come looking for the Driver as well as Irene, who they would have discovered was affiliated with him? Thus, how could the Driver ride off into the sunset, knowing full well that Irene was still vulnerable?
When I saw the title 'Drive', I expected the film to have many more chase scenes. Fortunately, director Refn took the story in a different direction, emphasizing the rivalry between the Driver and his criminal antagonists. 'Drive' is a film which doesn't have a lot to say. In other words, if you're looking for great 'meaning', you will not find it here. With the exception of the more complex Bernie, its characters are pretty much one-dimensional caricatures, especially the main protagonists, played by Gosling and Mulligan. Nonetheless, in the tradition of some of the great noirs and neo-noirs of the past, 'Drive' manages to be highly entertaining, due to a dynamic plot, that will keep you on the edge of your seat.