“…a five-minute window…anything happens a minute either side of that, and you’re on your own, I don’t carry a gun…I drive.”-Drive
Other than that, as far as getaway driver Ryan Gosling is concerned, his rules of the road end there except for his pathological addiction to being close to cars and his penchant for sucking on toothpicks. That is, until he meets up with his next door neighbor, Michelle Williams – I mean Carey Mulligan – in this existential neon neo-noir directed by Nicola Winding Refn. But before Mulligan enters the picture and revs up Gosling’s soft side with his silent goofy aloof expressions, the movie begins with an adrenaline shot of a night time car chase evading Johnny Law with chopters throughout the “hundred thousand streets” in downtown LA. After this I was eagerly awaiting some more high octane fun but instead veered into a seriouso character study of how a lonely man in a satin scorpio patch jacket can have such a tender heart but ultimately reveals his ultra violent nature of a scorpion. Though obviously steeped in and influenced by numerous past flicks at least Drive revitalizes the noir crime genre and what sets it apart is Refn’s assured direction and the (at times a bit overbearing) retro eighties like soundtrack. Too bad it didn’t drown out the fucking dialogue between those two kikes, Albert Brook and Hellboy. Albert is completely miscast as a razor wielding gangster and should resurrect his writing and directing career or else his legacy will be the voice of Finding Nemo.
While Mulligan and Gosling are busy making puppy faces at each other, her ex-con husband cuts in with one of the best scenes cock blocking him. The other notable one is the motel money murder madness scene where Gosling’s pointed gloved finger bitch slapping interrogation goes awry. Too bad he can’t use those tactics in the real world.
SPOILERS. You would think that Drive would climax in a dazzling car chase as it began but instead we get a tiny fucking elevator with a slowmo make out scene and a stomping session. In keeping with the existential motif and ambiguous ending, Gosling drives off into the night. Hopefully his first stop is the dry cleaners.