#17: Drive
In the age of excess, a little thriller called Drive shows that minimalism still works. So many action movies are filled to the brim with bright lights, explosions, gunshots, and every woman your formulaic hero gets near. Drive sets itself apart.
Nicolas Winding Refn's eye for Blade Runner-esque aesthetics is impressive, and lighting is always key. This look is developed even more in Only God Forgives, but in turn sacrifices plot and any of the enjoyment factor (I haven't seen Neon Demon yet).
It seems inaccurate to call this film - and Refn's direction - "slick," tempting as it is. "Slick" is thrown around a lot nowadays: almost every thriller of the last five years seems to be described that way. But Drive truly deserves the term. There are no bells and whistles here.
Ah, yes. Another good thing about the film; a little-known young man named Ryan Gosling. This kid's got a future, because what a performance. Portraying so much emotion (or lack thereof) with so little dialog is an impressive feat. The supporting cast is great as well; most prominently Albert Brooks. Without giving too much of the character away, its a performance filled with a depth and darkness - reminiscent, but not at all similar to Javier Bardem in No Country for Old Men.
It all begins as a retro action flick about a stunt driver who is helping pull off some heists. However, when things get going, they also get very very violent. It's at this point that Drive takes on a life of its own.
Nicolas Winding Refn's eye for Blade Runner-esque aesthetics is impressive, and lighting is always key. This look is developed even more in Only God Forgives, but in turn sacrifices plot and any of the enjoyment factor (I haven't seen Neon Demon yet).
Ah, yes. Another good thing about the film; a little-known young man named Ryan Gosling. This kid's got a future, because what a performance. Portraying so much emotion (or lack thereof) with so little dialog is an impressive feat. The supporting cast is great as well; most prominently Albert Brooks. Without giving too much of the character away, its a performance filled with a depth and darkness - reminiscent, but not at all similar to Javier Bardem in No Country for Old Men.
It all begins as a retro action flick about a stunt driver who is helping pull off some heists. However, when things get going, they also get very very violent. It's at this point that Drive takes on a life of its own.
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