A violent, stylish film with a real heart; Refn is a director to keep an eye out for.

Rating: 10/10 (8 October 2011)

'Drive', a film by Nicholas Winding Refn (Bronson), has the makings of a cult classic. Ryan Gosling plays a man who simply 'drives'. He performs stunts in vehicles for Hollywood films, but he makes his real money as a getaway driver. 'Drive' is a film of two acts; the first, in which the driver becomes involved with a married woman, Irene, and her son, sets up the second, in which he must protect her from chillingly ruthless mobsters.
'Drive' is one of those cinematic experiences that you pray will never end. So great is the atmosphere created in the film that it invades your thoughts for days after having watched it. Something about the slow pace, sleek visuals and electronic soundtrack transport you into this glossy yet dangerous LA underworld. The film is clearly influenced by classic such as 'Bullitt', 'Goodfellas', and 'The Good the Bad and the Ugly'. Despite this, 'Drive' is an absolutely unique piece of cinema which is certainly no less than the sum of its parts. Unlike many recent Hollywood offerings, 'Drive' is a film that is directorially bold. Nicolas Winding Refn seeks both clarity and originality in the film's key moments. The opening scene is a getaway chase, but instead of fast cuts and meaningless explosions, Refn treats his audience with more respect, creating a slow, tense escape scene which is vastly more satisfying than a simple display of technology. The reason this works is because the film carries genuine emotional suspense, and we care about what happens to the characters, something that is actually rather rare.
Gosling's character, known only as 'Driver', is a superhero of sorts. Much like Spiderman or Batman, he has two personas: the quiet, caring stunt driver by day, and, when he dons his scorpion jacket, the cold, calculated getaway driver by night. As a character he is easy to admire. He is often silent, always thinking, and handles danger with calmness and skill. Despite the fact that he is on the wrong side of the law, towards the end of the film we see the driver as a victim of his own nature and sympathise. Irene's husband gets into serious trouble on release from prison, and the driver offers his assistance only to become tangled up in a seemingly never-ending web of organised crime. Be warned; the story darkens, yet of course continues to enthral.