The essence of cool is something that can’t be sought after — it just has to be.
Never has this principle been more strongly reinforced than in the crime drama “Drive.”
“Drive’s” formula is simple: take a charismatic star and don’t give him enough dialogue to ruin his charm. Yet through the film’s execution, “Drive” is easily the most watchable film of the year, with scenes that seem to transcend auditory and visual stimulation pulling the viewer into what feels like a dream state.
Not since a David Lynch vehicle has there been a film so atmospheric and moody, creating a hypnotizing spectacle that will blow the viewer away.
Juxtapose the gentle flow of the film with “Drive’s” sporadically brutal action sequences, and the result is one of the most engrossing films of the year and the most fascinating action movie in recent memory.
The opening scene sets the tone for the entire film with possibly the most methodical and measured car chase in the history of cinema. It would be very hard to describe the chase without giving too much away, but know it is nearly impossible to not chuckle at the cleverness of the result.
In the beginning, we are introduced to a man who we will only know as Driver, played by Ryan Gosling. He is a Hollywood stunt performer, turned midnight wheelman.
The mere fact that the audience will never know his name only adds to the enigma of the character — nearly nothing is revealed about Driver except that he can drive incredibly well.
The mystique around his character enables Gosling to create a very magnetizing aura and still maintain a sense of innocence among the rampant bloodshed. It gives him a pure sensibility despite his actions. The innocence of Driver gives him the benefit of being displayed as an altruist.
As the film continues, Driver begins to befriend his neighbor Irene (Carey Mulligan) and her son Benicio (Kaden Leos) after Irene’s car breaks down. We come to find out that Irene’s husband is in jail, and Driver takes this opportunity to help the family in any way possible.
As expected, Irene and Driver grow closer just as her husband is released from jail.
Being a gentleman, Driver detaches himself from the situation until he finds out that Irene’s husband is in dire need of some help and that he possesses the very skills to aid him.
“Drive” is not a deep movie and doesn’t have thematic material that the general public will use as jumping off points for discussion, but the way the film is shot and the mesmerizing soundtrack are nothing short of spectacular.
Director Nicolas Refn writes two love letters in the film.
The first, and most obvious, is to the city of Los Angeles, which he portrays using sweeping aerial shots of the city, giving it a glamour that is reminiscent of how Bret Easton Ellis portrayed it in novels like “Less than Zero” and “The Informers.” The second is to the classic action movies of the ’70s, starring the likes of Steve McQueen and Charles Bronson.
Gosling is nowhere near the level of those greats, but he has taken a huge step forward by starring in the year’s most watchable film.