An incredibly stylish flick that is very successful in its use of pacing. Gosling is superb, showing his darkest side yet and further proving his already considerable worth.

Rating: 8/10 (13 June 2013)

Nicolas Winding Refn is fast building a proved track record in working with the best young(ish) actors in cinema. Having previously brought a snarling, bestial Charles Bronson to the screen by way of Tom Hardy, Drive now sees Ryan Gosling's moody, enigmatic cool used to full effect.
There are a number of factors that make the film stand out from the crowd, though that's not to say that it feels completely original in all respects. The 80s flavour that infused Refn's earlier film, Bronson, is very much present and accounted for. As with that picture, the soundtrack is used to augment the atmosphere, but also to surreptitiously signal changes in mood and action in the plot. This is not in the sense that it's an indication of what the reaction should be, more that it sometimes complements, but at others provides a severe contrast with, the more affectionate moments that take place. Stylistically, too, the production harks back a few decades, title fonts presented in hot pink and the anti-hero's costume just as much of an anachronism as the mobsters that he finds himself entangled with.
The movie also has a definite rhythm to it. The first half is packed full with a seemingly ordinary love story, though the mood soon darkens, revealing a much shadier side to both the nameless driver and the film itself. It's this transformation that is the most striking quality of the plot. Gosling morphs from shy young lover to vengeful and ultra- violent in a heartbeat. It's a testament to his skill as a performer that this never feels unnatural, his screen presence providing the impression that he is capable of this kind of brutality, even when sharing tender exchanges with a prospective lover.
The pace is fairly sluggish as flicks that find this kind of popularity go, particularly between the opening sequence and the point at which the atmosphere changes. Prolonged shots and lingering focus on some events of the story are conspicuous in the emphasis placed on them. This not only rounds out the character of the driver, but also sharpens the contradiction between the two distinct halves of the film.
The latter half pulls no punches in the depiction of ferocious and often sadistic bloodshed that ensues. It's a constant battle for the driver to keep his emotions and boundless fury in check. Once again, Gosling comes into his own here, and it's a joy to watch as he uncontrollably trembles with rage confronting each of his antagonists. These instances punctuate the more deliberately paced scenes perfectly and this amplifies the slightly guilty, heart pounding thrill as revenge is exacted.
It's easy to see why this became the sleeper hit it turned out to be and I look forward to the upcoming second collaboration between Refn and Gosling, Only God Forgives, with great anticipation.
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