Drive has a delightfully 80s vibe to it. It reminds one of Michael Mann’s neon drenched crime thriller Thief, but with the out of nowhere blood-soaked violence of David Lynch. Even Cliff Martinez’s sscore evokes Tangerine Dream, who created Thief’s haunting music, among many other film scores during that era. Like that James Caan headlined flick, Drive is also based on a book and involves a man on the wrong side of the law getting into trouble when trying to do good. Despite what appears to be obvious influences, director Nicolas Winding Refn has created his own work from Hossein Amini’s screenplay based on James Sallis’ book of the same name. Drive may evoke but, it never copies. The story finds a mysterious stunt driver, who moonlights as a getaway car driver, getting into trouble with local mobsters when trying to protect his pretty neighbor from the mistakes of her ex-con husband. It is a moody atmospheric piece with sudden jolts of intense action and bone crunching violence. It also has a top notch cast.
Ryan Gosling superbly plays the man known only as Driver with equal parts mystery, menace and heart. This is a bad dude when provoked, but you have no trouble believing he truly cares for Irene and her son.The supporting cast is also excellent with Carey Mulligan as the sweet young woman who seems to fall for the bad guy every time. Albert Brooks is intense and sleazy as a Jewish mobster, who can be quite vicious when he wants to be. Rounding out the cast is the awesome Ron Perlman as Brook’s crude and temperamental partner and Bryan Cranston as Driver’s mentor, a sad man who just can’t seem to avoid getting involved with the wrong people.
Drive is definitely a film that might befuddle the average movie goer, who were weened on Michael Bay and music videos. It uses it’s sumptuously filmed visual style to create a mood and it’s characters to convey emotions. There is no unnecessary exposition to explain how character’s feel, they show it and Refn let’s us, the viewer, experience it for ourselves without explaining it to us like children. When he needs to, he hits us with action and it serves a purpose to move the story along. When he jolts us with the gruesome violence, it’s an extension of a character’s emotional state. Bad and desperate people do bad and desperate things. Our anit-hero Driver seems to have an inner rage that’s never explained and his character is all the more richer for that added mysterious dark side. Drive is something today’s average movie going audience is rarely exposed to…something called cinema! Highly recommended for those who want more then just a movie.
Rated 3 (out of 4) hammers!
BLADE RUNNER 2049 (2017)
Sequel picks up thirty years after the disappearance of Rick Deckard (Harrison Ford) with replicants now being perfected to the point of obedience. One such new model “K” (Ryan Gosling) hunts down older models as a Blade Runner. When he “retires” replicant Sapper Morton (Dave Bautista), he finds a box of bones on his property that belong to Deckard’s replicant lover Rachel. They also indicate Rachel had died giving birth, a starting revelation that finds K sent on a reluctant mission to find and eliminate the child before the world finds out about it. This puts him in great danger as he must track down Rick Deckard and is pursued by the Wallace Corporation, who want to find out how a replicant gave birth and use that knowledge for their own purposes.
Worthy sequel is directed by Denis Villeneuve (Arrival) from a script by Hampton Fancher (who co-wrote the original) and Michael Green. It’s a science fiction mystery with an amazing visual style that both brings us back to Ridley Scott’s 1982 cult classic and yet goes beyond it to create it’s own futuristic world, of neon overindulgence and rotting decay. It is a moderately paced and moody thriller that manages never to be boring at a lengthy 163 minutes and populates it’s world with some very eccentric…and dangerous…characters. The script links the film very cleverly to the 1982 original and takes the story to new places and gives us a lot to think about as we follow K on his journey and we discover the clues and startling revelations as he does. Like Scott’s film, there is some violent action, but this is a film noir, mystery/thriller not an action movie, much like the first film and it works very well if you have the patience to let it tell it’s story at it’s own pace. The cinematography by Roger Deakins is quite sumptuous and the score by Hans Zimmer and Benjamin Wallfisch sets the mood perfectly and mixes in some elements of the original Vangelis score, so the film feels like a Blade Runner movie.
Villeneuve has a great cast. Gosling is a perfect fit for the brooding Blade Runner “K”. He gives the outcast replicant some nice emotional depth as he ponders his part in this ongoing mystery. Ford steps back into Deckard’s shoes with ease giving him a weariness and a hardened edge of living a lonely life in exile. Robin Wright makes for a tough, hard-nosed cop as K’s superior officer, Lt. Joshi. Ana de Armas is charming, sweet and sexy as K’s hologram girlfriend Joi. Rounding out is a creepy Jared Leto as Niander Wallace, who has taken over the replicant business from The Tyrell Corp and Sylvia Hoeks as his very lethal hench-woman, Luv. They serve as our villains, as they want to find Rachel’s child for their own nefarious purposes. The supporting players, including Guardians of the Galaxy’s Dave Bautista, are all top notch, too. A very solid cast.
It’s too early to tell if this flick will become a cult classic like it’s predecessor. It is a solid sequel and yet very much it’s own movie. It has a great cast, some incredible visuals and an intriguing mystery that keeps our attention even at almost three hours long. It may be a bit too brooding and lengthy for some, but if you are a patient person, and a fan of the original, it is a highly recommended sequel to a cult classic.
rated 3 and 1/2 holographic girlfriends.