While some might find the deadpan demeanor and emotionless behaviour of an unknown, no-named, multi-jobbed skilled driver incredibly gimmicky and over-done, the portrayal of such a character in Drive points in the other direction. Though pretty face Gosling has been known for more romanticized leads in the past (The Notebook, Blue Valentine), he pulls up his socks perfectly in this 2011 gangster flick as the no-nonsense, "I will hurt you" all-round good guy. He is a stuntman and a car mechanic by day, and a getaway driver for one-off clients by night. In an attempt to help the ex-con husband of his neighbour Irene (Mulligan), things go terribly wrong and the people whom he cares about (including himself) end up in big piles of trouble.
The pacing of the movie is relatively slow and deliberate, thanks to careful editing and direction by Refn. Refn takes his time in introducing the characters and setting the tone before attacking the audience abruptly with car chases, gunfights, throat-stabbings, and the famous bashing-a-head-till-its-flat-in-the-elevator scene (which was a scene of immense suspense and unexpected passion). Though the depth of supporting characters such as Nino and Bernie leave more to be desired, there is much to be enjoyed from the smoothness and raw intimidation that Gosling brings to the table, along with his very accessible softer side when in the presence of Irene and her son Benicio (Leos). He is a man of silence, a man longing for love, and a man who will not stop at anything (including ill-treating the opposite sex) to protect those he cares about.
The plot is old and stale, and one can determine the ending 30 minutes into the film, but at its heart lies the magic of relationships, the loss of innocence, and the struggle to regain that innocence in the eyes of someone you hold dear. Drive is a gem of a neo-gangster movie (despite its flaws) and is the perfect stage for Gosling to shine above his subdued co-stars, proving that the once pretty boy heartthrob is ready to grow up.
The pacing of the movie is relatively slow and deliberate, thanks to careful editing and direction by Refn. Refn takes his time in introducing the characters and setting the tone before attacking the audience abruptly with car chases, gunfights, throat-stabbings, and the famous bashing-a-head-till-its-flat-in-the-elevator scene (which was a scene of immense suspense and unexpected passion). Though the depth of supporting characters such as Nino and Bernie leave more to be desired, there is much to be enjoyed from the smoothness and raw intimidation that Gosling brings to the table, along with his very accessible softer side when in the presence of Irene and her son Benicio (Leos). He is a man of silence, a man longing for love, and a man who will not stop at anything (including ill-treating the opposite sex) to protect those he cares about.
The plot is old and stale, and one can determine the ending 30 minutes into the film, but at its heart lies the magic of relationships, the loss of innocence, and the struggle to regain that innocence in the eyes of someone you hold dear. Drive is a gem of a neo-gangster movie (despite its flaws) and is the perfect stage for Gosling to shine above his subdued co-stars, proving that the once pretty boy heartthrob is ready to grow up.