A Worthy Update Of "The Driver"

Rating: Null/10 (27 September 2011)

(Even to both lead's shared name: Ryan.)
Minus the rampaging, corrupt cop (Bruce Dern) from "The Driver," adding more love interest, "Drive" is an existential treat for the twenty-tens.
With flat-affect and monosyllabic speech, Mr. Gosling's takes the wheel not to outdo the cops, but save a sweet young woman (Mulligan) who had the misfortune of marrying a recidivist dipstick. Mulligan's cute kid is a fuel additive.
Many viewings of "The Driver" created difficulties in the comparisons, yet this tale is engaging. While "The Driver" directly referenced the Seventies' post-Watergate zeitgeist, "Drive" dwells more in the internal world of sacrifice.
Nods to Albert Brooks. His range amazes as any recollection of the goof in "Lost In America" trickles away like the blood he calmly spills with a razor from his very sharp collection.
Ron Perlman does gruff better than anyone, and his under-boss is a serviceable placeholder.
Mulligan does what she's supposed to do: hit her marks, look vulnerable and dreamy. Nothing more or less.
There will be a lack of mention herein to the "Bullitt" homage. It's 'Stang versus Mopar... with Ford victorious anew.
"Drive" is a high octane crime thriller whose success lies in overcoming the well-worn plot in performance, a pretty solid script and direction that knows to get out of the way. (Unlike most of the ilk, "Drive" is cut well, not over-cut to the point of migraine and eye strain. Thank you!)
Mr. Gosling is a chameleon inhabiting character. This role speeds him toward greater recognition of his formidable acting chops. His turn makes a look at "Drive" worthwhile.