Drive

Finally, after a few false starts, Nicolas Winding Refn makes (what arguably can be perceived) as his Hollywood debut and with Ryan Gosling in the lead role and a twisty story line involving mobsters and fast cars, it’s been eagerly anticipated. Drive is certainly a stylish film, but is hollow inside and severely lacks the punch of NWF’s Danish Pusher films (though do look out for a nice one-liner describing European films). So even though this isn’t a bad film, it is a letdown compared to what was expected. Let’s talk about the style then. Refn is no doubt a talent behind the camera and this film has some of the most delicate shots you’ll see this year. I’d love to see the story boarding for this film as each scene is shot and crafted in such a way that you could pause the film at any moment, frame what’s there and then hang it at The National Gallery. Add in some elegant lighting (hats off to Newton Thomas Sigel) and some of the best camera angles since Hitch and Kubrick, and you can see that this has clearly been a labour of love for Refn. What of the substance, then? This is where the film falters. Despite it looking great the first half of the film is painfully slow as we follow the un-named driver (Gosling), as a get-away wheel man for hire, going about his daily business with an eye on his neighbour Elaine (Carey Mulligan). When Elaine’s husband is released from prison Gosling finds himself caught up in a tangle of a protection racket and a robbery which he didn’t have on his schedule. I was hoping this would be Gosling’s chance to really push himself and show what he can do, but we’re left with the standard Gosling performance of minimal dialogue with an assortment of (mainly moody) facial expressions (though it can’t be denied he is a master at the latter). Mulligan doesn’t fare much better and I’m pretty certain her whole dialogue in the film could be written on the back of a postage stamp. If you survive the opening and middle sections of the film which mainly consist of Gosling and Mulligan looking earnestly at each other and not saying anything, then you are at least rewarded with a final third that ups the action quota as things begin to unravel for both. Be warned though (and a lot of people are already saying Refn has gone too far here) that some of these scenes have some sickening violence, the “highlight” being Gosling’s assault on someone in a lift that concludes with a quite literal face caving in. You’ll do well to hold onto your popcorn after that one. Is the violence too much? IMHO no, but it’s safe to say it’s unlikely that NWF could have pushed it much further. Overall, this is the kind of film that gets a standing ovation at Cannes (which it did), but leaves a lot of the audience unmoved. At least Refn has made something coherent from a script where all the verbal dialogue would only just fit on a side of A4 paper. Nothing can prepare you though for the terrible soundtrack or the 1980’s style credits shown in a lurid shade of pink in an awful font. Forget the bone-crunching violence as these two aspects are the most offensive thing of all.

The OC Film Sting Final Verdict

The most cool looking film of the year? Without question. One of the best films of the year? Sadly, no. Rating: 6/10