Drive

Drive

I don’t sit in while you’re running it down. I don’t carry a gun. I drive.

Nicolas Winding Refn is a unique director, and not just because of his name. I’ve seen two of his previous films, and both had a sort of operatic quality to them, almost as if Refn was composing music rather than directing a film. This state of mind continues with Drive, his latest venture, and arguably his most accessible one; the public loved it, critics loved it, and I sure as hell liked it.

In contrast to pretty much every other car-based movie out there, Drive is stoic, calm, and relaxed, even during its action bits. There’s a pervasive sense of peace, and mindfulness; we live the film through the mind of the nameless Driver, who is always at peace, always at one with himself and what he does, and it gives the film an air about it, helped along by the moody and intensive soundtrack that sounds like it comes straight from the 80s. The whole thing is very dreamy and trance-like; Refn himself stated he wanted it to feel almost like a fairy tale, which it does, except with, you know, killings and robberies and whatnot.

Drive is one of the most stylish films I’ve seen out of the modern films from the list, and I can see how it made it. I don’t know if it’ll stick around, but it did make it if indeed for a brief while, and it made it for good reasons. It’s extremely likable, and a very capable film, with solid performances and a script that just manages to move the plot forward enough for the film itself to pick up the momentum. I don’t know if it was a plot or a story that really needed to be told, but it’s definitely an experience that must be had; give this a shot, and see if you don’t find a new favorite here.

Arbitrary Rating: 8/10

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