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Mulligan reaching out to hold Gosling's hand... and the kiss in the elevator... were achingly romantic.
Of course, the kiss in the elevator was basically Gosling's way of saying goodbye to her. Correct me if I'm wrong, but that's the last time he actually sees her, right? The only communication they have afterwards is a phone call.
Pretty sure you're right mcnooj.
The way that the Driver would hold his pauses two beats too long when talking to Irene really sold his inexperience or lack of understanding at how to deal with women, or normal people in general. I could have watched a whole movie about this guy trying to figure out women and life without the whole crime thing.
Yeah, Sebastian's got it. It's a thematic problem. In the early going, literally everything is tied to the car and driving. He takes Carey out for a drive to court her. He sees the thugs beating up Standard, and thus gets involved in the crime, while driving past them. Driving is what he does. Then by the end he's just sort of hanging around next to cars.
I disagree. At the very end, he's dying, he doesn't stand next to a car. He gets in and does what he loves most and what he's best at. He drives until he dies. Makes sense to me.
I feel like this is a response to Hill's The Driver. The reason Gosling fails is because he's not an inhuman zombie. He breaks the rules and actually cares for someone. If the scorpion and the frog fable is represented here, then the frog represents emotional entanglements. As soon as he gets involved with anyone to try to help them out (Shannon, Irene, Benicio) it all falls apart for him. He tries NOT to be just the driver and he pays the price for it. But rather than expose anyone to the real monster he is (I love his goodbye to Irene in the elevator) he dons a mask (quite literally) and dies to keep them protected from it all. It's a beautiful film.
Gosling's use of the mask is very interesting, because as Parker implies, it seems to be a more symbolic/thematic device rather than a disguise he wears for practical purposes.
He puts it on and looks into the pizza place. The film doesn't show anyone taking note of the weird-looking guy standing outside the door. The one person who does see him in the mask is someone he's about to successfully kill in a moment.
EDIT: On an unrelated note. The slap Mulligan gives Gosling was mixed a LOT louder than it actually looked. Hahahaha
I loved all the little audio tweaks Refn throws in there: the exaggerated crinkling sound of Driver's gloves, the bullet shots at Standard, and both slaps (Gosling on Hendricks and Mulligan on Gosling).
Gosling's use of the mask is very interesting, because as Parker implies, it seems to be a more symbolic/thematic device rather than a disguise he wears for practical purposes.
He puts it on and looks into the pizza place. The film doesn't show anyone taking note of the weird-looking guy standing outside the door. The one person who does see him in the mask is someone he's about to successfully kill in a moment.
EDIT: On an unrelated note. The slap Mulligan gives Gosling was mixed a LOT louder than it actually looked. Hahahaha
I think it's important to bring up that Refn feels that Drive is the origin story of a superhero. If that's the case, then the mask is symbolic because it's him abandoning any pretense of being a normal person, and actually becoming a "hero" by donning a mask. However, a hero's costume projects a person's true personality, and in this case: He's a monster.
"You have proved to be... a real human being. And a real hero... real human being..."
Hehehe
I think it's important to bring up that Refn feels that Drive is the origin story of a superhero. If that's the case, then the mask is symbolic because it's him abandoning any pretense of being a normal person, and actually becoming a "hero" by donning a mask. However, a hero's costume projects a person's true personality, and in this case: He's a monster.
That's interesting, and it explains a bit why he goes to the movie set to get the mask. Before he was just the stunt driver for the movies hero. Then he becomes the actual movies hero, but only after donning the "fake" movies mask.
Gossling alludes to that idea in his interview with The AV Club; he talks about having a fairytale vision for the film, but that it's in the character's head, that he's immersed in the fantasy/mythology of Hollywood and is acting it out by trying to save what he perceives to be the damsel in distress. I think the movie straddles the line - Is The Driver a badass hero? A deluded psychopath? Both? - but certainly the mask (which is supposed to be the face of the lead of the movie he was working on) plays into the superhero subtext either way. Also the fact that he essentially has a costume even before donning the mask, which is the scorpion jacket, the gloves etc.
Loved it, and thought it worked better than the book.
A few thoughts:
I love Cranston, but when everyone else in the movie is so taciturn, his role as Basil Exposition really does stick out.
I was amazed at how quiet my theater was (10 am on Sunday); real pin-drop stuff for most of the film. Which probably made it startling for people when I burst out in delighted laughter at the look on Brooks' face as he twigs to Chris/Cook being another loose end. The Oscar nom talk is probably premature, but who knows? With Plummer a shoo-in for a Supporting nom, and the cast of Tinker Tailor being full of obvious nominees, maybe there will be sentiment that we gotta get an American in there somewhere.
Anyone know if the fable about the frog and scorpion was in a scene cut from the film? I'd love it if Refn just decided that either we know it or we don't. The film is full of great shorthand like that: things like the phone ringing which isn't answered, and finally referred back to in the next scene.
While I disagree with whoever posted upthread that things go to shit beginning with the elevator scene, that is definitely when the Driver's scenes take on a heightened reality (things like walking around casually in the blood-stained jacket), to the point that I almost feared some terrible dream sequence.
I understand the thematic objections to the film making fewer "car" associations at the climax, but to me it played out like the mythic archetype where the hero loses his magic artifact, and must confront his foe with only his personal resources (and finding that the "magic" was really inside him, etc etc etc). I did have a couple of issues with the end, though: the shadow scene was cool, but really felt almost gimmicky at that point. And while I thought the score was aesthethically appropriate for the film (even though I wasn't all that keen on much of it as music), the repetitive chorus of the final song reminded me of the ending of Social Network (with Zuckerberg hitting refrresh over and over): just so on-the-nose. In neither case did it really diminish my overall enjoyment of the film, but I think it could have been cut back or eliminated altogether.
This is pure internet hyperbole, but here it goes: I would have dirty, freaky, nasty, illegal-in-17-states sex with this movie. From a simply technical level, Refn takes the beautiful cinematography I loved in Valhalla Rising and, though there's more dialogue, somehow manages to evoke more of a mood, an atmosphere; that of a setting summer's day. I loved how he just let the camera rest and allowed Gosling and Mulligan to just...look at each other. Beautiful, wonderful. And in a year of Transformers and so many car chases, the opening scene of this film is one of the most pulse pounding, intense times I've had in a car since Sorceror. And in the post-heist chase, who knew that not cutting like an idiot monkey every half second could actually make the chase seem more exciting? It's like Refn rediscovered old editing techniques where you had to watch every piece of film and manually splice it in, so you were loathe to cut any more than you had to.
The Real Hero song may have been overused just a tad (a tad tad, only) but it's a perfect song that so captures what the film is about. I'm okay for a little bit of handholding like that, because it's such a fantastic song.
Yeah, after reading some of the experiences on here, I'm glad at least my theater was completely silent through the whole thing. Probably also had to do with it being a sunday afternoon.
Yeah, after reading some of the experiences on here, I'm glad at least my theater was completely silent through the whole thing. Probably also had to do with it being a sunday afternoon.
Since most of my movie-going is limited to the chain theaters (our indies theaters tend to have a tiny selection), I'm seriously considering just going to Sunday matiness for anything that isn't a comedy or a schlocky action flick (I know, I know, elitist asshole alert). It's a shame, because with the right film nothing beats a packed house (Team America is still one of my all time favorite cinema experiences), but I'm just finding it harder and harder to justify spending $10+ bucks to be irritated for 2 hours.
This was actually one of the first times in recent memory that we sat in a quiet theater, as there's usually someone talking, or answering a phone, or just being flat out annoying in most of the films we've seen. Worst was Transformers: Dark Of The Moon when these middle schoolers were sitting behind us and wouldn't shut the fuck up. I hadn't noticed it, but one of them was kicking her seat, and she turned around and said "Stop kicking my seat you fucking bitch!" First time I've ever seen her get mad.
Sunday matinees seem to be the best option. All we have are chain theaters around here. No indie theaters.
Reminded me of when we saw Limitless and the lady next to us kept overly reacting to the film and talking, and I turned to her and told her to stop talking.
Anyway, back on topic. Drive is slowly growing on me. It's still not my best movie of the year, but when I think of things like the beautiful Riz Ortolani song playing while masked Driver peers into Nino's and we see Nino in the back laughing in slow motion, it bumps up a notch. Although I did give it an 8 already, and that's about as high as I'd go on it anyway. I'm just a tad bit easier on it.
Man, I lucked out. Late Sunday showing. Bright digital projection (I've had recent problems with new prints scratched up there), loud rich sound, only a handful of people in the theater (sorry, Film District), and a date who was really into the movie with me.
Still contemplating. I don't think I'll wind up praising it as much as some are, but highly recommended all the same. If you love movies, particularly art house tough guy movies like The Limey or The American, plus 80s Michael Mann noirs, see this projected in the right theater at the right time before it vanishes.
You're in luck because there are at least three other Gosling movies where he does exactly that.
Loved this. Light crowd for the late show, and I was probably the most vocal in my responses. I do wish that the trailers hadn't given away so many of the money shots, especially (not spoilers 'cause they're in the trailer, but can we go Post-Release now?) the elevator attack and Perlman getting run down. But holy shit Albert Brooks. And yeah, buying the soundtrack.
Third time today.
Seriously, I love this fucking thing.
I loved this and want to see it again in theaters, but three times in one day?
What else is he gonna do behind you?
Err...let me rephrase: third time seeing the film.
I've seen it three times myself now and after each viewing wished I could start it all over immediately. It's fun to guess at subtext and attach meaning and signifgance to aspects of the film, but for me, Drive is a clear cut case of an auteur visual stylist using a conventional genre template to indulge in creating lush shot compositions. Every shot, angle, camera movement and usage of lighting is so meticulously, brilliantly composed, well, let's just say it is movie heaven for cinema lovers. Sure it bites on 80's Mann a little hard, but the film is forcefully its own creature. Amazing performances, killer score and soundtrack, iconic and unforgettable imagery aplenty: what more do we go to the theater for? I felt like I did the first time I saw Pulp Fiction in the theater watching Drive. It reminds you of everything you love about movies that's been missing and gets you excited about the future of cinema.
Gah, I've never been so embarrassed of my friends than when all of them said that Drive was boring and stupid and made them fall asleep. And some of them like the goddamn Expendables! Jersey man, Jersey will do things to you.
I haven’t seen a movie this good in many, many years. This was my introduction to Refn and now I’m rabidly excited to see Pusher, Bronson, etc…
Random impressions:
Gosling:
Never cared for him, stunned by how good he was here…the Diner scene where he snaps at that guy…great moment -he totally sells it and you can feel the tone of the film shift immediately.
And the shot of his face after the stomping…chilling – he conveys so much in his face…did anyone else get a Alec Baldwin circa Miami Blues era vibe off of Gosling in this?
Penultimate scene in the car – rivals Spacey’s scene in LA Confidential, I was enthralled.
ETA - Parker's post above implies Driver dies at the end. Is this the generally accepted view? I walked away with the impression he lives.
Driver is such an iconic character – the scorpion jacket was the perfect touch. Loved the various Mann-esque shots from behind as he’s on the phone, staring across the cityscape.
This catapulted Gosling into an entirely new league for me.
Mulligan:
Amazing acting just with facial expressions. I was impressed by how strong you feel the longing between Irene & Driver during the Standard coming home party, given how short of a time they had together.
Refn:
Driving Scenes – Opening getaway – I immediately knew I was watching something special…perfectly directed… The getaway scene after the pawn shop robbery – again, perfect.
The Hotel Scene…insane – masterful suspense…
The first scene in Irene’s apartment when we see Driver’s silhouette reflected in the mirror that holds a picture of Standard & Benicio – one of my favorite composed shots in a film full of them.
Soundtrack:
The songs were inspired choices, but Martinez’ score built a great sense of menace throughout.
I don’t LOVE a lot of films. I LOVE Drive. Believe the hype.
As far as the mask goes -- it's interesting that it is so repulsive, since it is far more "human" looking than masks worn by heroes like Iron Man, Spider-Man, etc. which obviously call to mind a far more distorted version of a human face. This mask is creepy because it's so close to being human, but gets it wrong -- sort of an uncanny valley type of effect. Of course this is much like Driver himself, who is both wearing a constant mask and is constantly mask-less throughout the film; he's wearing a constant mask in that his emotions are always hidden and very much repressed, and he's never wearing a mask in that he is always incredibly frank and honest about his abilities and his objectives. So we only have a vague understanding of his human-ness -- much as our perception of the rubber mask is both as something identifiably human and something hideously not.
In many ways, it's easy to suggest that Driver has lost the ability to feel emotion until he falls in love with Mulligan, and the explosion of violence that occurs in his life immediately afterwards is the only logical result of this -- he's so unaccustomed to what the release of emotion actually is that his life self-destructs when he's required to release it in accurate ways (i.e., romantic gestures when feeling love, violent gestures when feeling angry, etc.). I'm talking more on an abstract rather than plot level, since all his violent acts are more or less motivated and defensible in the film (although he clearly enjoys the violence). But I think Refn's getting at something true here, which is that when emotions are so sublimated, you become so desperate for any kind of expression that punching someone can feel just as good as kissing them. Driver's obsession with movies and pop music (bubblegum synth-pop at that), which is dripping with lavish sentiment and yet is distinctly artificial, ties in with this nicely.
So for me, the movie's ultimately about a man learning how to sort through what he feels. And it's fucking amazing. It's been a while since I've been actively disturbed by movie violence, but I was actively fearing the next violent event in this film. And I got a massive smile on my face when Gosling blinks, sits up and reaches for his keys at the end. Just a great moment.
I've seen it three times myself now and after each viewing wished I could start it all over immediately. It's fun to guess at subtext and attach meaning and signifgance to aspects of the film, but for me, Drive is a clear cut case of an auteur visual stylist using a conventional genre template to indulge in creating lush shot compositions. Every shot, angle, camera movement and usage of lighting is so meticulously, brilliantly composed, well, let's just say it is movie heaven for cinema lovers. Sure it bites on 80's Mann a little hard, but the film is forcefully its own creature. Amazing performances, killer score and soundtrack, iconic and unforgettable imagery aplenty: what more do we go to the theater for? I felt like I did the first time I saw Pulp Fiction in the theater watching Drive. It reminds you of everything you love about movies that's been missing and gets you excited about the future of cinema.
Went for my fourth time today. I just can't get over this movie. In some ways it's a testament to what the medium can be.
Went for my fourth time today. I just can't get over this movie. In some ways it's a testament to what the medium can be.
Very much so! I am going to try to see it a fourth time as well, if my wife will allow it. She's getting a bit concerned about my obssession with Refn films and how they all seem to focus on man muses lol.
Stray observations: SPOILERS
Love the scene when he smashes Cook's hand with the hammer. The way the women just sit there dispassionately like robotic mannequins is priceless. Also, the bizarre way Gosling stares straight ahead before being handed the phone with Nino on the other end. His acting in that scene is incredible. I've never seen pumping adrenaline played with such physical fidelity as he does holding that hammer talking to Nino saying he wants "out of it".
I know we have a Fincher film coming up, but there's just no way any scene in any movie this year could be more powerful/magical/scary than Baby Goose and Hellboy on the beach. When he's drowning Nino in that swirling mass of black water while the lighthouse strobes..... No words.... they should have sent a poet.
It seems a lot of people are upset there wasn't more driving in the film. I know there wasn't a ton of action sequences, but he really was driving for most of the film. The ad campaign might have been a bit misleading, but how else do you sell Joe six pack on art house than by tricking him into seeing Transporter 4: Jewish Mafia Showdown?
Didn't want to read too much of this thread because of spoilers. For those who have seen both - should I see this or Warrior?
Well, I'll end up seeing both eventually. Which should I see first/in the theater?
Didn't want to read too much of this thread because of spoilers. For those who have seen both - should I see this or Warrior?
Well, I'll end up seeing both eventually. Which should I see first/in the theater?
THIS.
Love the scene when he smashes Cook's hand with the hammer. The way the women just sit there dispassionately like robotic mannequins is priceless. Also, the bizarre way Gosling stares straight ahead before being handed the phone with Nino on the other end. His acting in that scene is incredible. I've never seen pumping adrenaline played with such physical fidelity as he does holding that hammer talking to Nino saying he wants "out of it".
Leave it Refn to make me physically intimidated and afraid of Ryan god-damn Gosling. In that strip club scene, you could just feel the tension, the strength of his arm and in his hand as he grasped onto the hammer. I thought it would shatter in his fingers. Brooks was also convinicingly scary, but he was the bad guy, so I guess I kind of expected it; though his sudden stabbing of that one guy certainly took me by surprise. But of course, this is the most vicious, brutal face beating since Irreversible. I like how Driver, in need of a release, doesn't stop. He just. keeps. kicking.
Leave it Refn to make me physically intimidated and afraid of Ryan god-damn Gosling. In that strip club scene, you could just feel the tension, the strength of his arm and in his hand as he grasped onto the hammer. I thought it would shatter in his fingers. Brooks was also convinicingly scary, but he was the bad guy, so I guess I kind of expected it; though his sudden stabbing of that one guy certainly took me by surprise. But of course, this is the most vicious, brutal face beating since Irreversible. I like how Driver, in need of a release, doesn't stop. He just. keeps. kicking.
I love the look he gives Irene, like he's trying to suppress a werewolf transformation. I don't get all the talk about Driver being some romantic protector. He's clearly a violent sociopath and Irene is obviously drawn to criminals. It's just at this point she realizes what a sick fuck Driver is and BAM, elevator door closes and any thoughts of him being either a real human being or a real hero are gone. Time to mask up and go full creeper!
A fantastic movie, Gosling just radiates menace throughout. even when he was with Irene and Benicio he looked as if he would just snap at any time. The score throughout the film was fantastic for the most part when it was just a score, when the singing started it diluted the film for me as I found it jarring. I would watch the further adventures of Driver any time. I loved the stillness of the camera as well, fuck I guess I just loved this movie, yet I know that a lot of people will not enjoy it which is a shame. A friend got the impression that this was another "Transporter" kind of film and I had to get that out of his head.
A fantastic movie, Gosling just radiates menace throughout. even when he was with Irene and Benicio he looked as if he would just snap at any time. The score throughout the film was fantastic for the most part when it was just a score, when the singing started it diluted the film for me as I found it jarring. I would watch the further adventures of Driver any time. I loved the stillness of the camera as well, fuck I guess I just loved this movie, yet I know that a lot of people will not enjoy it which is a shame. A friend got the impression that this was another "Transporter" kind of film and I had to get that out of his head.
The first time I saw it, I found the "Real human being and a real hero" lyrics way too obvious and on the nose, but it's grown on me considerably and serves the film well as a creepy coda. Some people I know who are actually familiar with Refn also said the thing about it looking like a Transporter film. This blows my mind. I understand advertising is one thing, but if you've seen a Refn flick, how could you ever envision him doing something along the lines of a Transporter film? Crank though? Maybe.
I haven't felt compelled by a film this way since Black Swan. So much that went through my head has been covered in here, as well things that never did (One more chase scene? Why?) but one thing that struck me was the lack of sexuality. The movie certainly coneys a "sexy" feel, but as far as the depiction of men and women it came off very strangely (Not negatively, just strange). Mulligan and Gosling have a really great quiet chemistry together, but it seems that they would be content just driving around forever together. Their one moment of passion is a direct result of danger in their presence. Hendricks' character is beautiful but displayed as petty and trashy; there is no accentuation of her sexiness beyond her heels, and even her time in the hotel (getting hit and then killed) is pitiful. Finally the showdown in the strip club with the nude women surrounding the character, just standing there. That scene is filled with so much tension and so much power from Gosling and yet these women surround him and just watch while barely flinching. For a film that's so stylized and steeped in neon it certainly had an interesting portrayal of sexuality.
Finally got around to seeing this and I liked it, but its probably my least favorite of Refn's movies. It just seemed like too many disparate elements, like an awesome score (especially the scene in the strip club) and really shitty synthpop songs. (Seriously though, fucking College?) The plot was hackneyed at best, but the acting was pretty good and Brooks was great. Still don't buy Gosling as a super badass though. I love when Refn goes full on weird like Valhalla Rising or Bronson, or when he goes super gritty like Pusher, but this seemed like he wanted to have his cake and eat it too. The film just felt tone deaf and scenes like in the elevator were overly romantic and pointlessly squalid at the same time. This flick had moments of utter brilliance (like the initial getaway from the cops) but the whole just didn't seem to be the sum of its parts.
Yeah, I kinda loved this movie. I felt like Valhalla Rising was a step back from the sheer fuck you of Bronson and this was something of a leap for Refn. The romance here is all reliant on Gosling and Mulligan's performace, but its more convincing than DeNiro's courtship in Heat.
Yeah, I kinda loved this movie. I felt like Valhalla Rising was a step back from the sheer fuck you of Bronson and this was something of a leap for Refn. The romance here is all reliant on Gosling and Mulligan's performace, but its more convincing than DeNiro's courtship in Heat.
I actually think Valhalla would probably have gone over better with a lot of people if it had been Refn's first work instead of coming after the Pusher films and Bronson. Obviously it's got some of the Refn trademarks,but it's just such a different film in terms of pacing and tone that I think it threw off a lot of people who expected one thing and got another (namely the lack "sheer fuck you" as you astutely put it). When taken as its own very slow, meditative bit of weirdness it's a solid piece of work. I can't imagine the amount of shit it would have gotten if it came out after this film.
Also, caught Drive for the second time today and it's amazing what a difference a crowd makes. Movie was fantastic before, but I caught a ton of little things this time that amplified it in my opinion. Refn's shots seem so serene and unhurried at times, but this thing is framed and edited like a clockwork machine. I'd be fascinated to see behind the scenes footage of the kind of direction he gives his actors, because there's so many little moments of items/people moving in and out of frame at just the right time to drive home a theme or accentuate the emotions of a particular scene.
Really nice little movie. While I don't think there was a single thing about it that didn't work, I would say the one thing that was absolutely great for me was Refn's work. What a hell of a directing job.
I would say that Brooks, while a lot of fun, was more a triumph of casting than a particularly great performance. I mean, he's great, but he's basically a 80s bad guy with a few more erudite lines. Hell, I liked Brooks as much if not more in Out of Sight. Cranston and Gosling were the ones who really nailed it to the wall, for me.
Personal favorite thing about Drive: Virtually everyone had an excellent death scene. Especially Christina Hendricks. But really, everyone did.
Also, caught Drive for the second time today and it's amazing what a difference a crowd makes. Movie was fantastic before, but I caught a ton of little things this time that amplified it in my opinion. Refn's shots seem so serene and unhurried at times, but this thing is framed and edited like a clockwork machine. I'd be fascinated to see behind the scenes footage of the kind of direction he gives his actors, because there's so many little moments of items/people moving in and out of frame at just the right time to drive home a theme or accentuate the emotions of a particular scene.
This is a very apt description of Refn's impressively confident technique on display in Drive. I saw it a for the 4th time today (I just keep dragging people to it) and it astounds me how well put together it is and how it holds up to multiple viewings. There isn't one bad performance or one scene or one line that doesn't need to be there. It gives you just enough to fill in the blanks and make it whatever you want it to be. It's so nice to be able to sit and appreciate every meticulously composed shot. Refn doesn't waste a single frame of film here. Would this be greatly improved by a bunch of jarring cuts and superfluous action scenes? Not in the least. Drive is the antidote to everything that's wrong with Hollywood right now. It lets you appreciate the artistry of the image and think for yourself as opposed to cutting so much and so fast you're reduced to a brain dead pile of goo staring at flickering franchise fuck fests.
Masturbatory in the best way possible. It's been too long since I've seen a camera proper eye-fuck its male subject. Loved Gosling's mention of the story of the Frog and the Scorpion, a fable, and then the final confrontation between he and Brooks' character, these two archetypes, is composed like a shadow play. This film is a masterpiece.
Yeah I loved it. I loved Bronson too and its strange to me because I can't think of another director that opens his film before the titles come up and hook me so thoroughly.
In the case of Bronson the music, lighting, direction the beat down with the guards and then Bronson laughing and looking psycho. With this the music, direction, images and of course the action driving.
Refn is fucking brilliant. Count me as another Gosling lover now. Never thought much of him before but thats changed after this (much like Hardy with Bronson).
The soundtrack for Bronson I loved as well (especially Digital Versicolor's) and will be buying Drive.
God its great to just see directors like Refn say fuck you you're watching my film. My theater experience was great outside of a huge heavy breather behind me and my lady.
The audience was really shocked by the hotel scene and was pretty much hooked. Its like the film cast a spell in fact its one of the finest experiences i've ever had.
Just love this film and will be buying it. Wonderful.
Interesting to see how many people are zeroing in on the hotel scene as the thing that either won them over or turned them off. I was just browsing the book today, and that bloody aftermath is the first page. Would mainstream audiences be digging the film more if it retained that flashback structure?
The scene that haunts me is when Bernie kills Shannon, in what I'm sure he thinks is the most humane way possible. "It's over... it's over..."
Yeah, Shannon's death is such a disturbing moment. It's played as a mercy move on Brooks' part rather than stabbing him in the neck a whole bunch like Cook, but it's just so fucked up in it's intimacy and suddenness.
I loved it. Of the three people I saw it with, the two men thought Gosling was too "broody", and the woman really liked it.
I loved it. Of the three people I saw it with, the two men thought Gosling was way too hot and it made them envious and self-conscious, and the woman really liked it.
Fixed!
Ha! Most probable! I forgot to mention that I have of course loved Mulligan since she burst onto the big screen, but goodness, she can say so much with just a look. I swear that I almost heard full conversations between her and Gosling when they were just looking at each other or were together without speaking, like when Mulligan took his hand in the car.
I wasn't expecting the Driver to be so overtly a slasher. Gosling has this weird expression through most of his scenes with Mulligan. Some sort of perplexed half smile, like he's not quite certain what's happening. He knows it feels good but he can't pinpoint it exactly or figure out how to react to it. And Refn directed the fucking shit out of this. I often got taken out of the movie even just for a moment by how much I enjoyed just looking at it.
Ha! Most probable! I forgot to mention that I have of course loved Mulligan since she burst onto the big screen, but goodness, she can say so much with just a look. I swear that I almost heard full conversations between her and Gosling when they were just looking at each other or were together without speaking, like when Mulligan took his hand in the car.
I swear, Mulligan's the best young actress out there right now.
"That movie was terrible! I mean it wasn't all that bad, but..." Saw it again for the second time and that was something I heard some juice-head say as he was walking out w/ his silent and bored looking date. I don't get it. I didn't overhear anyone say anything the first go around, but I found that comment oddly disturbing beyond the fact that I don't like, but actually love this movie. As some have said, you see people cringing and getting to it whenever the screen goes red, but it's like they simply don't know what to make of it otherwise. It's like they believe that the filmmakers intended to make some goofy, breakneck, Fast & Furious type film (which is what is originally acquired to be of course) but forgot to put in CGI, Vin Diesel, and Asian girls.
I've heard a VERY sharp divide between filmgoers about this movie. I think a lot of people simply aren't used to silences, to characters that don't blab nonstop. And, like I said, the violence in this is pretty vicious and gruesome. It's joyless stuff, at least aesthetically. I can see the layman being absolutely bored out of their skull by this movie. That being said, even with my lukewarm reaction to the movie, fuck the layman.
"That movie was terrible! I mean it wasn't all that bad, but..." Saw it again for the second time and that was something I heard some juice-head say as he was walking out w/ his silent and bored looking date. I don't get it. I didn't overhear anyone say anything the first go around, but I found that comment oddly disturbing beyond the fact that I don't like, but actually love this movie. As some have said, you see people cringing and getting to it whenever the screen goes red, but it's like they simply don't know what to make of it otherwise. It's like they believe that the filmmakers intended to make some goofy, breakneck, Fast & Furious type film (which is what is originally acquired to be of course) but forgot to put in CGI, Vin Diesel, and Asian girls.
The marketing for Drive did a good job of suckering Joe Public into the theater. At the showing I was at, 2 couples walked out after the elevator scene. I went with my girlfriend's dad and he was harumphing mightily during the violent scenes (which is strange cause he cheered gleefully during the bloodshed in the Conan remake). I had a good time (even though I had a few nitpicks about it) but the rest of theater just seemed like they couldn't wait for it to be over, and shuffled out quickly and quietly when it was. I wonder if Refn is going to have another movie with this kind of mainstream distribution any time soon. Methinks it is unlikely.
