Drive

It’s hypnotic (almost everyone talked about the soundtrack after leaving the movie theater), clings to details (cinematography, sound), and constantly goes against established audience expectations. When I got up from my seat, sweat was pouring off me and it wasn't just the heat in the movie theater. (09/14/2011)

A stunning minimalist film, a unique experience for lovers of a blend of bearable art-modernism and uncompromising realistic rawness. I would devour everything about the main character, the music perfectly underscores it, and the action is uncompromising. Overall, a very meticulously styled film, whose creators have a knack for feeling and aesthetics and know exactly what and how to do it. (10/28/2011)

I don't know if it was my restless mood or just the movie being unnecessarily slow for me. Sometimes I even wondered if the picture was stuck. It has its charm and atmosphere though. It may be art in its own way, but it lacks excitement. Ryan Gosling has done better work, in my opinion. Of course, it's not his fault. Unfortunately, the script doesn't allow him to show his full glory. Unfortunately, I see it as just average... 3 stars. (03/22/2012)

The third viewing at the cinema definitely confirmed for me that trying to decide between four and five stars is pointless here. Drive is a challenge for film connoisseurs. It is something to discuss, to examine shot by shot and line by line. It’s impossible to put it into a qualitative category, and it’s impossible not to admire it. It is a hypnotically calm and slow opus that concurrently boils over with emotion and suspense. It works with several genres, but it cannot be clearly classified as belonging to any of them. The film keeps the greatest distance from the main character, not letting us understand him or feel his relationship with the girl, for whose protection he resorts to extreme, graphic violence. Though this violence thus becomes shockingly gratuitous, it is irresistibly cathartic in contrast to the romantic poetics that surround it. Through its extravagant camerawork and music, the film conceals the importance of the dialogue, which is the pillar of its story and is served sparingly, almost in fragments, but it perfectly defines the characters immediately with the first line or two. The choice of actors is original and unexpected, and with artistry reminiscent of Tarantino, the director pulls them out of their status as fades stars and eternal players of supporting roles and has them embody characters that will forever be embedded in your memory. Nicolas Winding Refn has what it takes to be the next Tarantino. However, Drive still isn’t his Pulp Fiction. For that, he will need more pieces on the chessboard and a more complex story. (11/22/2011)

Drive wants to position itself as a film standing outside the mainstream of its genre. It does not want to be just a cheap or even an expensive popcorn movie that relies on effects, budget, and stars. It is a poser who cares about image and enjoys being seen in the company of those who consider themselves refined aesthetes, experts in true art, and not mere consumers of entertainment. It succeeds to some extent, mainly thanks to the hypnotic music and slow camera, which create tension and a suggestive atmosphere. However, if you take the trouble to strip Drive of its flattering coat, you will find a mundane story, surprisingly unoriginal and perhaps even trivial, with characters who try to be cool at the expense of their credibility and internal logic. Of course, Drive's "coolness" has nothing to do with how, for example, Transporter: The Series understands "coolness" for a more popcorn-friendly audience. Ethically questionable is the obvious aestheticization of brutal violence and, above all, the fact that the creators perceive their protagonist as a positive counterpart to powerful villains and their henchmen, as a protector and a kind of romantic character from the underworld. From my perspective, the Driver looks and acts more like an exemplary psychopath - his inability to experience and share human emotions, the eradication of ethical barriers, the tendency towards antisocial behavior, and outbursts of violence clearly expose him. In Irene's place, I would rather fear my admirer. The behavior of the main antagonists is fully in the grip of rituals, but unfortunately, they are constructed by the screenwriter rather than emerging from the reality of the American underworld and the nature of the conflict between film characters. Overall impression: 60% for the film's appearance, not its content. (05/31/2014)