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RE: Brutal, beautiful, brilliant. - 10/2/2012 9:07:54 AM   
Vitamin F

 

Posts: 610
Joined: 6/10/2005
From: Norn Ireland, so it is

quote:

ORIGINAL: jrewing1000

This is fast becoming one of my favourite films of all time. I've watched it twice at home now, (once in the cinema - twice on DVD) and it just keeps getting better. Now I know what the film involves and where it is going, I can fully enjoy the ride. Boy what a ride. It's just so damn cool!


Cool is indeed the word
For something that, on paper, should be total cheese (80s look and synthy soundtrack, that jacket, driving gloves, boy-meets-girl story, getaway drives, long lingering moody looks etc etc) this film is so confident in what it's selling that it somehow punches through all that and comes out the other end as cool as polar bear 'nads.

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RE: Brutal, beautiful, brilliant. - 11/2/2012 9:02:29 PM   
gunstar


Posts: 962
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From: Star Lite Star Bright Trailer Park
Massively average genre flick that really, really wants to be Michael Mann's Manhunter.

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RE: Brutal, beautiful, brilliant. - 11/2/2012 11:03:51 PM   
Jackie Boy

 

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^ What he said.

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RE: Brutal, beautiful, brilliant. - 11/2/2012 11:04:17 PM   
Jackie Boy

 

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^ What he said.

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Post #: 154
RE: Brutal, beautiful, brilliant. - 12/2/2012 11:25:48 PM   
film man aidy

 

Posts: 335
Joined: 8/3/2007
Criminally overlooked at the BAFTA's today. Yes, The Artist is very good BAFTA, but Drive was THE film of 2011. Why can't this superb movie get the recognition it deserves?! Maybe the Empire awards will go someway to putting this right...

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Post #: 155
RE: Brutal, beautiful, brilliant. - 13/2/2012 11:21:59 AM   
JIm R

 

Posts: 9185
Joined: 30/9/2005
From: Surrey
An aweseome piece of film making, watched yesterday on blu-ray and there are not the words to describe how brilliant, emotional, impactual, beautiful, hipnotic this film and it's journey truly is.
 
The pre title sequence alone with minimal dialogue (if any) conveys the elegance of what will come. Gosling is simply out of this world, half man, half wrecking machine on a trajectory that no one will steer him from, along the way he finds love and a meaning to add to his life and Cary Mulligan, equally strong, supplies the backbone and security he has longed for, in each other they find the piece of the jigsaw that was always missing.
 
A twisted view of reality ala Lynch but the visuals out last the film's running time, shot beautifully, each frame aches into your heart and Gosling's Driver learns what it is to be wanted. To not have anything, to gain everything and place it all at risk.
 
The soundtrack provides the beating soul, anyone who is a child of the 80's will note it's pattern and is a character in it's own right. Mesmeric, flawless, achingly beautiful. My film of 2011.
 
5 Stars.

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Post #: 156
RE: Brutal, beautiful, brilliant. - 13/2/2012 12:26:04 PM   
lukeyboy


Posts: 1638
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From: Saaaaf Laaandaan you slaaag!
I thought this was a great movie - but I wish I could say "it was great from start to finish". I say that becase I was as dissapointed as hell with the ending.

Ryan Gosling, Carey Mulligan, Brian Cranston, Ron Perlman and Albert Brookes were all superb. It had a great "feel" to it owing mainly to the understated performances of all involved (especially by Gosling) and the soundtrack, which although was a bit cheesy at times, made me feel like something was coming - was going to happen, and this had me in a constant state of subdued anxiety throughout the film. Of course when "those" bits inevitably did happen I was indeed shocked, but maybe surprisingly the elevator scene was nowhere near as shocking or nasty (to me at least) as the scene where Albert Brooks' character and Brian Cranston's character have they're final "meeting"! That left me reeling quite honestly.

Right up until the end, I was completely into this film, hook, line and sinker - and when the final scene finally came to pass and the screen went blank for the entire duration of a song, I was frankly - spitting blood!

Why do some people feel that a movie is somehow better by not giving it an ending and tying it all up! There were a couple of things that really needed to be tied up, which weren't - and I for one don't buy into this being a cool thing. Other than that (fairly major) complaint - I thought it was great. Would've been a 5 star film had it not been for the ending, other wise I (reluctantly) give it 4 stars!

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RE: Brutal, beautiful, brilliant. - 14/2/2012 8:23:41 PM   
Goodfella


Posts: 17320
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From: North Devon
Beautiful, brutual, disturbing, touching, engaging. The list goes on really, by far the best film I've seen so far this year. Oh and I think I'm in love with Carey Mulligan. Awesome soundtrack as well. 5/5

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RE: Brutal, beautiful, brilliant. - 16/2/2012 12:19:24 AM   
S. C. Lee


Posts: 356
Joined: 1/12/2011
I don't get it! I don't get the love

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Post #: 159
RE: Brutal, beautiful, brilliant. - 16/2/2012 2:20:41 AM   
JohnChard

 

Posts: 178
Joined: 22/10/2009
From: Birmingham
Why do you need things tied up though? It's the other side of the coin, is it not better to have too use your own imagination as to the character's outcome?

Like Shane, people will be debating about Driver's future or demise for decades to come; and that's great cinema for you.

< Message edited by JohnChard -- 16/2/2012 2:22:59 AM >


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RE: Brutal, beautiful, brilliant. - 16/2/2012 11:12:08 AM   
Vitamin F

 

Posts: 610
Joined: 6/10/2005
From: Norn Ireland, so it is

quote:

ORIGINAL: lukeyboy

Right up until the end, I was completely into this film, hook, line and sinker - and when the final scene finally came to pass and the screen went blank for the entire duration of a song, I was frankly - spitting blood!

Why do some people feel that a movie is somehow better by not giving it an ending and tying it all up! There were a couple of things that really needed to be tied up, which weren't - and I for one don't buy into this being a cool thing. Other than that (fairly major) complaint - I thought it was great. Would've been a 5 star film had it not been for the ending, other wise I (reluctantly) give it 4 stars!


Because it generates mystery, and we like mystery in stories because we can ponder on it? Just a thought...

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Post #: 161
RE: Brutal, beautiful, brilliant. - 17/2/2012 12:24:07 AM   
jrewing1000


Posts: 486
Joined: 23/11/2005
I think this will gather speed and emerge as one of the top films of this decade.

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Post #: 162
Good, but not great... - 17/2/2012 12:26:54 AM   
guitardave

 

Posts: 12
Joined: 12/2/2006
Just watched this for the first time. It felt in parts like it was trying to be a real-life Grand Theft Auto, a Michael Mann Heat/Collateral/Miami Vice rip-off or a Tarantino flick. Not as good as any of the afore-mentioned, but still a decent film. Not one I'll be buying though.

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Post #: 163
RE: Good, but not great... - 17/2/2012 5:47:10 PM   
Invader_Ace


Posts: 1584
Joined: 31/7/2008
I liked it, was a very slick modern western and I liked the way as noted in another poster's review they made allusions to how it was a trashy film, but perhaps it was more than that.  However, I am very perplexed at the sheer amount of love it is receiving.  It's nowhere near perfect.  I would say if you think you might be interested then see it.  4 out of 5. 

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Post #: 164
''Just Brilliant.'' - 17/2/2012 10:30:49 PM   
soulfood

 

Posts: 62
Joined: 6/10/2005
Ryan Gosling Delivers THE Performance of Year .
Also this is Truly Very Stylish Movie .

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Post #: 165
neutral gear - 18/2/2012 8:29:21 AM   
lelandmeeks


Posts: 30
Joined: 16/6/2011
I'm not convinced about this film. My problem is that if it wasn't directed by Winding Refn or it didn't star two 'cool' actors (Gosling, Mulligan) then I think everyone would simply say it was 'good' not great as is the case. I thought the look and mood of the film was very fresh. But I thought a lot of the plot was childish - making him a Hollywood stuntman had no relevance at all except for the fact he used the prosthetic mask at the end!

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Post #: 166
Drive - 19/2/2012 9:53:51 PM   
Jimmick007

 

Posts: 6
Joined: 10/1/2012
What a fantastic piece of ultra violent American pulp. Drive is hugely enjoyable, with the highly talented acting bettered only by the direction. Thats me being a technical nerd. But I'm not one, so I shall simply say that this is one of 2011s most thrilling films

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Post #: 167
Great Drive - 23/2/2012 10:32:56 PM   
lynnshep


Posts: 428
Joined: 17/1/2007
From: USA
Great film. Well written and acted. Where was the Oscar love for Albert Brooks? Great brooding old fashioned crime film!

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Post #: 168
Great Drive - 23/2/2012 10:32:57 PM   
lynnshep


Posts: 428
Joined: 17/1/2007
From: USA
Great film. Well written and acted. Where was the Oscar love for Albert Brooks? Great brooding old fashioned crime film!

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Post #: 169
Drive Review - 6/3/2012 9:49:37 PM   
the film man

 

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A hyper-stylized blend of striking imagery and violence, Drive represents a fully realized vision of arthouse action, and is also my best film of 2011.

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Post #: 170
RE: Brutal, beautiful, brilliant. - 12/3/2012 11:26:45 AM   
kdevitt

 

Posts: 4
Joined: 11/9/2006
quote:

ORIGINAL: lukeyboy

Right up until the end, I was completely into this film, hook, line and sinker - and when the final scene finally came to pass and the screen went blank for the entire duration of a song, I was frankly - spitting blood!

Why do some people feel that a movie is somehow better by not giving it an ending and tying it all up! There were a couple of things that really needed to be tied up, which weren't - and I for one don't buy into this being a cool thing. Other than that (fairly major) complaint - I thought it was great. Would've been a 5 star film had it not been for the ending, other wise I (reluctantly) give it 4 stars!


I'm a bit confused here - maybe I'm missing something in your post. I watched the film for the first time on a flight last week, bought it on blu ray the following day. Neither have the screen going blank at the end -

SPOILER

The Driver sits motionless for a moment, he comes through, starts up the car and drives off. Albert Brooks' character is lying dead on the ground, with the bag of cash beside him. Credits roll.

END SPOILER

Presumably this is no different to any other version? (Am in Oz!)

Edit - should also say, movie of 2011 for me. Loved it.


< Message edited by kdevitt -- 12/3/2012 11:29:22 AM >

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Post #: 171
Iconoclism deluxe - 13/3/2012 8:25:49 PM   
ApotheosisX

 

Posts: 12
Joined: 6/11/2006

I hate films like this. Dark, brooding, slow, with the leading actor possessing about as much character as a dry bit of brown bread. (And don't get me wrong. I like Ryan Gosling). There was not much enjoyment or fun to be had watching this tedious sojourn into the mind of a goodie / baddie (?) who hardly says a word that's interesting, maintains complete hard jawed exposure throughout, but that's it, and has all the intrigue value of corpse. (Actually... I'm wrong... A corpse has far more intrigue value... You wonder how they died). This film is littered with cinematic cliche, and not a moment of original flare except for one two or three second shot during a car chase (yawn...) when the car is seen flipping in the background through the rear window as the rear passenger watches the road terrified. It's like 'Dual', but with no real sense of menace or mystery, at times. At other times, it's like a neo 'Bullit', but that was only interesting for the car chase then... Which lingers now as a bit of a memory dust. There is a scene in the lift so disgusting, that you just feel ill. It's not 'cool'. It's the antithesis of 'cool'. Only numbwings would think something like that is 'cool'. The cinematographer is the best thing about this film. His wise selection of shots at precisely the right time of day when the sun was at a certain angle shows a real artistry. But that's about it. Yawn yawn yawn. Misery... on celluloid. Not what I want when I want a film trip. So sorry to be a naysayer, but I'm with the ladies on this one. 'The Notebook' was much better.

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Post #: 172
RE: Iconoclism deluxe - 31/3/2012 2:24:41 PM   
OPEN YOUR EYES

 

Posts: 4381
Joined: 5/2/2012
Finally got round to watching this film,and glad to say I like it alot.
I loved the essence and mood of the way this film was created.The film seemed to remind me alot about other films and directing styles.From M.Manns 'Heat' and 'Collateral' works to that of the continued backing music from the likes of Q.Tarantino,with this film also having that hard hitting cult edge of 'Pulp Fiction'.
The acting from Gosling,Cary Mulligan and Bryan Cranston were extremely good and enthrallingingly astute.
The overal script/tone of the film was perfect and the music and sound design was perfectly placed.

Overal I can forsee this film,over the next 10-20 years,becoming an all time classic.
Perfect.

< Message edited by OPEN YOUR EYES -- 31/3/2012 2:25:20 PM >

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Post #: 173
Oh please ! - 2/4/2012 12:50:45 AM   
antosh25

 

Posts: 87
Joined: 15/5/2011
It was cool but i got nothing out of it. things kicked off a way to late in the film for my taste.

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Post #: 174
One of the best films of this decade. - 25/7/2012 1:21:26 PM   
robmarathon

 

Posts: 23
Joined: 18/7/2012
Drive showcases Ryan Gosling in his performance and also resurrects those stylish gangster films that we had the pleasure of seeing back in the 90's.

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Post #: 175
Drive - 28/7/2012 11:53:08 PM   
norgizfox

 

Posts: 121
Joined: 30/4/2012
It may not be as engaging as the 80's pulp films that inspired it, but Drive is beautifully filmed, well-acted and perfectly paced.  It's comes across as a subtle, yet violent crime thriller that's bloody, fast, and...well, has a lot of driving.

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Post #: 176
- 10/10/2012 1:05:01 PM   
baseballfuries22

 

Posts: 12
Joined: 15/8/2012
A cult classic in the making

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Post #: 177
Classic - 30/10/2012 3:31:41 PM   
atom_band

 

Posts: 14
Joined: 12/7/2012
From: South Africa
A pulpy violent fable told with a European sensibility.
This is a masterwork and pretty damn perfect. Gosling is stunning as "Driver" channeling the great male loner performances of the 70's.
Refn's masterpiece.

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Post #: 178
RE: Drive - 31/10/2012 4:21:49 PM   
chris kilby

 

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Moody, intense and cooler than Fonzie, Drive is Thief meets The Driver. In fact, it’s the best film Michael Mann never made.

Virtually a hymn to 80s cool right down to the sub-Tangerine Dream synth-pop score, it’s also a monument to 80s naff-ness; electric pink “handwritten” (ie, illegible) neon credits and the sort of hideous satin bomber jacket and leather driving gloves combo favoured by Alan Partridge – ah-ha!

Taciturn Ryan Gosling looks like a cross between a young Peter Stormare and Stan Laurel and is so like his namesake Ryan O’Neal in The Driver (both are nameless and neither carries a gun) that I kept expecting Bruce Dern’s twitchy cop to show up.

Like O’Neal, Gosling’s “Driver” is almost an urban samurai with his own inscrutable moral code - albeit a badly dressed samurai. Like Le Samurai meets Vanishing Point. Which means it’s all but impossible to talk about Drive without invoking existentialism. Whatever that means.

Drive is also an urban western of sorts with more than a touch of Shane about it. He protected a family too. A random act of kindness (albeit an unconventional one) which leads to all sorts of complications for The Driver With No Name. Chaos theory in action – a butterfly must have flapped its wings in 1985!

Enigma or cipher? Hero or psycho? “Driver” is icily impassive. Disturbingly so. The more violent he gets the more impassive he becomes. “You look like a zombie, kid.” Although that creepy mask makes him look more like Michael Myers. Or Jason Statham. Uh-oh – psycho alert!

“Driver” is more a collection of undeniably cool if psychopathic quirks than a real flesh and blood character. There is no sense that he has a life beyond the confines of the screen or had a past before the cameras started rolling. Baby-faced Gosling is aptly named for he looks far too young to have accumulated the impressive skills and experience his character has.

Inscrutable and fatalistic, this psycho with an apparent death wish is yer classic doomed, neo(n)-noir antihero (complete with hard-boiled voiceover at the start which wryly turns out to be half a telephone conversation) albeit an unconventionally pro-active one. Especially when it comes to a bit of unorthodox DIY involving a hammer. And, stunt man by day, getaway driver by night, there’s more than a quirky hint of another Fall Guy and 80s icon – Colt Seavers!

As the young mum in need of rescue, the possibly overrated Carey Mulligan has come a long way since Bleak House and Doctor Who a few years ago. While I do kinda wonder what all the fuss is about, the camera does love her. Nice to see flame-haired, Amazonian goddess, Christina Hendricks, in modern clothes for a change. What was it Jack Lemmon said about another screen goddess? Like jello on springs?

And even nicer to see Big Ron Perlman out of the prosthetics for a change. One of his occasional, none-too-bright, minor Mafia hoods, his “belligerent asshole with his back against the wall” is a cross between Nice Guy Eddie and the foul-mouthed thug Perlman played in Cronos.

The increasingly ubiquitous Bryan Cranston looks like an emaciated Peter Mullan in the doomed Willie Nelson-in-Thief role. Between this and Breaking Bad it’s hard to believe Cranston used to be typecast as the Homer-like dad in Malcolm in the Middle. Maybe he’s started a new trend. Having said that, Albert Brooks was Hank Scorpio!

Looking like a cross between Robert DeNiro and Ken Barlow of all people, Brooks is a malevolent revelation cast spectacularly against perennial nice guy/loser type as a ruthless (if wistful) razor-wielding gangster who’d give Tommy “Funny How?” DeVito a run for his money in the explosive psycho stakes. What would Nemo say? I dunno, but he’d have done what he was bloody well told if his dad was as terrifying as this!

With the sudden bursts of wince-inducing violence and some of the best old school driving action since Ronin, Drive is a film which stays with you. Yet it is strangely ethereal and dreamlike for so brutal a thriller. Haunting isn’t the word. There are plenty of evocative low angles, endless tracking shots which seem to float through the air, and mesmerising close-ups where you can almost see what the inscrutable Gosling is thinking.

Drive casts a hypnotic spell all its own, like a lucid dream or something. Is what we’re watching supposed to be “real”? There are deliberate echoes of Point Blank also – another dreamlike take on a hard-boiled American genre by a European director. Especially that ambiguous ending…

The importance of Drive’s incredible synth score cannot be overestimated. Stark and uber-cool, it simply wouldn’t be the same film without it. I’m struggling to think of another movie where the mood is so dependent on the music. Where the music IS the film. Blade Runner, perhaps. Or Halloween. Indeed, the distinctive minimalist ambience of Vangelis and John Carpenter were clearly a huge influence on Cliff Martinez and co.

This overwhelming soundscape makes the many prolonged silences all the more powerful. Drive is almost as stylised and ritualistic as Noh theatre. Stylised and stylish. Maybe too stylish? Where the same director’s Bronson was defiantly (and literally) theatrical, this is pure cinema, and virtually silent cinema for long stretches.

The already iconic songs variously give Driver a voice and ironically comment on him: “There’s something about you. Something inside,” alright. (So iconic two of them were pilfered by Taken 2 and there’s hardly a trailer on TV at the moment which doesn’t feature that song!)

The robotic vocoder effects and dreamy voices intoning about being “a real human” suggest that Gosling isn’t human. A cold, aloof psycho – it’s always the quiet ones. Yet he is ultimately motivated by empathy at great personal cost to himself. A real hero after all.

Nicholas Winding Refn is clearly a director who isn’t afraid to wear his influences on his sleeve. But not in the empty, immature, ultimately fanboyish manner of a Tarantino. He is far more grown-up and frankly cooler than that. No matter how deliriously OTT his films get there is a curious reserve and chilly self-restraint to them as well. Must be a Scandinavian thing.

Refn could show Tarantino a thing or two. Drive is a much better film than Death Proof which it also superficially resembles. And I don’t just mean that fucking awful jacket! Unlike Tarantino’s irresponsible, if entertainingly cartoonish, approach Refn’s violence is rightly shocking and comes out of nowhere. Just like real violence which makes you want to shut your eyes not fall about laughing.

Refn instinctively knows that if drama is conflict and conflict is violence, then violence is drama in its purest form. Like boxing. Or gladiatorial combat. And I’m intrigued by his highfallutin’ talk about cinema violence as an artform. Kinda makes me wonder what he’s going to do next. Definitely one to watch. Whoever it was that turned this guy down when he asked for a directing gig on Doctor Who must feel a bit of a fool now…

Nicholas Winding Refn is clearly a huge Michael Mann fan. Thief especially, which is just too ironic for words. Like Thief, Drive is cynical yet romantic, hard-boiled yet sentimental, gritty yet dreamlike. It seems to exist in an ethereally-scored, neon-lit netherworld at one remove from reality – it’s a Mann’s world alright.

There’s the same sense of place you get with Mann. LA almost feels alive. And Refn’s just as in love with the place - to the point watching Drive almost made me feel unfaithful!

Yet Drive is not a slavish imitation of a Michael Mann film, for there is one crucial difference and it is the difference between earnest American and more ironic European sensibilities. Not exactly renowned for his sense of humour, Mann takes his films very seriously, treating his characters like heroic archetypes and elevating their exploits to the level of pulp myth. But Refn is too wryly knowing for that. Paul Verhoeven was the same although his end results were radically different and even more gruesome.

An interesting character in his own right, in a lot of ways Refn’s as cool and aloof as his leading man. But above all, he is ambivalent to the point of being tongue-in-cheek. Is it possible that, as with Bronson (a merciless parody of despicable celebrity criminal culture), the none-more-sardonic Nicholas Winding Refn is subversively taking the piss out of yet another protagonist by suggesting that heroes are psychos?

I expect Michael Mann is bemused if not flattered by all this. Or, you know, talking to his attorney…

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Post #: 179
RE: Drive - 9/11/2012 11:46:39 PM   
s00tie

 

Posts: 4
Joined: 9/11/2012
Stand out movie for me.

The opening sequence really had me gripped - just down to the lack of unnecessary fluff and a solid matter of fact approach to a getaway that most of the pyro technic infused efforts of recent times have sadly missed. At the end of the sequence, just pulling into the crowded car park, calmly getting out and walking away without any cheese or usual whoop whooping or even a goodbye was movie poetry for me.

The character development was also very under stated and instead of feeling like you we're being force fed a diet of brooding hero, you actually wanted to know more about him.

Not the film I was expecting at all and all the better for it :)

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