This side of Steven McQueen, it doesn't get any cooler than Ryan Gosling and Drive.

Rating: Null/10 (28 October 2011)

Nicolas Winding Refn isn't known to most American movie-goers. His Pusher trilogy is well known to most cinephiles however, and Bronson helped launched Tom Hardy as a name in the circles of Hollywood, pushing his career where it is now. That is to say, despite his lack of American influence, Refn has already left an impact.
For those unfamiliar with his work, Refn is the scotch of modern cinema. While his usual brew is full of up front oak, Drive starts out smooth and bites three-quarters of the way down. Oh, it hurts so good too.
Drive, brutal, distinctive, and wreaking of cinematic style, is the most diacritic of all films released so far in 2011. Refn has established himself as a forerunner in the modern cinematic landscape as cinematography's new "it" man for cool. Drive, despite a few disjointed creative choices, is a must see. That said, the more vanilla or mainstream the movie goer, the more frustrating the experience of Drive.
Driver (Ryan Gosling) is a Hollywood stunt man by day, and a wheel-man by night. As Drive opens, we see Gosling command the screen with just one line of dialog, shot over a scanning shot of his stark apartment. Dinge oozes from the bedspread, sticks to the walls, and is plastered to the furniture. Refn establishes the tone for Drive in just 90 seconds.
The following six minutes are a 101 for how to shoot a tense action sequence. Drive shows our protagonist weave his way through the streets of L.A. with two criminals in the back, hot after a robbery. Much in the same way The Driver operates, the audience is consistently with the Driver, never taking a moment to care who or what happens in the backseat.
The tight angles shot inside the car give the audience a sensations of being trapped, unable to get out, and ultimately along for the ride. Only the brief shots looking out the front window are relief for the audience, and these scenes almost give the sensation of floating, as the headlights beam out amidst the dark urban-scape.
After the film school clinic is complete, Refn movies on to the narrative. Driver's only true friend, the father figure/mentor Shannon (Bryan Cranston), is his boss at the local mechanic shop, and his stunt coordinator on sets. He is the central point of life, that is until he befriends his neighbor Irene (Carey Mulligan) and her young son, Benicio.
After the plot finally comes to a head, Gosling's stoic and sincere emotions shine through to keep the audience holding on to some semblance of the ground, just as Drive takes off and pushes audiences to the limit of what everyone can handle. As far as violence goes, it will be more than most can handle, but there's no buyer's remorse here, as Refn quickly darts back across the line after he crosses it. Drive leaves the audience feeling as if they've been punched in the face briefly, but there's no black eye or bruise the next day. It's brilliant.
It's the attention to the line between too much and not enough that Drive thrives on. Even the opening hour, which is nothing but building suspense, feels as if each scene is pushed to the absolute capacity. Each shot lingers and lingers, only to pull away right before the audience wants to move on as well. Refn asks a lot of his audience to truly see the tranquil beauty in Drive, and it isn't for everyone.
Drive's ultimate success is the claustrophobic feeling Refn achieves with tightly cornered shots throughout. Characters are often framed to the left or right, helping to showcase the dynamic felt between characters, and constant lack of stability that each character faces. While everyone involved in the narrative is themselves stable and willing to take the high road, each is also brutally aware of real life, and the decisions it forces upon us.
There are no lambs amongst the lions in Drive. More than cars and speed, that is what Drive is about.
Overall
Drive isn't for everyone, but those who understand the mastery of Refn behind the camera, the understated acting, and the almost serene sense of violence that Refn injects in the final act, Drive is a cinematic dream ride of an adrenaline rush. Don't find yourself missing out on your chance to test Drive.
On the Side
The only missteps of the entire production involve the odd sense of 1980s homage. Everything from the pink script font used in the credits, to Gosling's jacket, has the pungent odor of the '80s. Drive has the feeling of the pilot episode of Miami Vice, complete with Michael Mann's amazing ability to shoot an urban downtown setting. Those elements, along with the new wave/electronic music, gives Drive a feeling that the '80s are about to be cool again... Which it is, right?