An Astoundingly Real and Beautiful Film

Rating: 10/10 (25 October 2011)

Seasoned with unsettling performances, Drive is a beautifully paced, gorgeously shot film that ranks as one of the best films of 2011.
In a way the title "Drive" is very misleading. Unmistakably however, the film continues to entertain, as well as hypnotize the audience when omitting the use of cars. What director Refn does exceptionally, is tell a real film, developing characters with little, to no dialogue. The Driver (Ryan Gosling) may know a stick shift like the back of his hand, but it's his presence outside of his sleek 1973 Chevy Malibu that tells the true story. A quiet, reserved man who is capable of inexplicable violence, we know almost nothing of his background. Stunt driver for films similar to "The Fast and The Furious" (which this film has almost nothing in common with), The Driver moonlights as a getaway driver for petty, small time criminals.
We see Gosling as an antisocial, mysterious man, but that doesn't stop him from forming a protective relationship with his neighbor Irene (Carey Mulligan) and her son, while her husband is in jail. The two have little to say to each other, but from very subtle stares and gestures the audience easily comes to their own conclusion that they understand each other.
The pacing of the first half of the film is incredible. We are slowly introduced to this seemingly calm world, which clashes with electronic, 80's synths revving up the soundtrack. The bond between Gosling and Mulligan blossoms, even after her husband Standard (Oscar Isaac), returns home from prison. Owing protection money from prison, Standard must rob a pawn shop in the valley with the help from The Driver and the full figured, femme-fetale Blanche (Christina Hendricks). With the heist going from routine to disastrous, the film's tranquil pace explodes into shocking, gruesome violence. Bloody or not, the movie has sucked you into this noirish- world and no matter what happens next you cannot look away.
Still, it's the performances and cinematography that continue to blow my mind long after the film is over. Albert Brooks, who seems like a decent ally at first slowly transforms into a monster, which is an exciting transition, although is clear from the start. Ryan Gosling's presence is so dominating throughout the entire film that requires the audience to be submissive, and is entirely done through his demeanor. With the few car scenes in the movie, you're completely sucked in because the choreography of it all is mind-blowingly awesome. Sigel creates such a unique atmosphere in which you become hypnotized and eventually surrender to.
I only have one complaint and that was not utilizing Christina Hendricks! I'm a huge Mad Men fan and I really was disappointed with her amount of screen time. Not discrediting the film, just a personal wish. I'm predicting this is a film that will go the way of a fine wine, better with age.
A must see for all film buffs....
"My hands are a little dirty.." "So are mine."