Drive (2011) Review

Directed by uncompromising Danish auteur Nicolas Winding Refn, Drive is the best of several “art” films to achieve mainstream status in the past few years. Looking set to become a cult classic, Drive is already developing a strong following. So what’s all the fuss about?

In a somewhat formulaic plot, Ryan Gosling plays an unnamed protagonist, working as a Hollywood stuntman by day whilst moonlighting as a getaway driver. A loner, Gosling harbours a secret love for neighbour Irene (Carey Mulligan), whose husband is being hassled by the mob. To protect Irene, Gosling – against his better judgement - offers to help her husband. Naturally not everything goes to plan…

It should be noted that Drive simply has to be watched on Blu-ray. Never has L.A looked so slick. The helicopter shots of the neon drenched cityscape are stunning. Sun soaked Los Angeles is brought to life in a way never seen before. This is pulp movie making at its absolute finest.

Without doubt, this is Goslings film, from start to finish. His is a minimalist performance of subtle brilliance. Not since Alan Ladd’s Shane have we seen a hero this coolly stoic. Calm, composed and utterly ruthless, this is Gosling’s best performance since his stunning breakthrough in Half Nelson. Dialogue is minimal, but Gosling’s portrayal stems mainly from a stolen glance, wry smile, or the occasional flexing of a leather glove. Those familiar with Clint Eastwood roles of old will be in familiar territory here. Gosling also sports a certain jacket which, believe me, will you have you scouring the internet in search of a replica as soon as the credits start to roll.

Carey Mulligan doesn’t have a great deal to work with, but as ever delivers a memorable performance as Irene– even if she is relegated to the lowly role of love interest. Breaking Bad star Bryan Cranston is perfect as Goslings good hearted, criminal employer. Ron Perlman is, as always, mesmerising. The real surprise performance of Drive is that of former funny man Albert Brooks, who positively delights in playing bad-to-the-bone villain Bernie Rose. Brooks simply oozes malice, and perfectly counteracts Gosling’s driver in every way imaginable. From the outset, it is clear that these two men are destined for a violent confrontation.

Violence is not something Drive shies away from. Anyone familiar with Winding Refn’s previous work will be aware that the director delights in satisfying our morbid fascination with the macabre. In Drives relatively short 100 minute runtime; we witness stabbings, car crashes, artery severances, eye gouging, drowning, beatings and shootings. Oh, and Gosling puts his boot to good use in an already infamous elevator scene, reminiscent of Gaspar Noe’s Irreversible. Maybe not one for the faint hearted then…

Drive implements the most ludicrously infectious soundtrack of the year. Comprised entirely of heavily synthesised, 80’s influenced Euro-pop, the results are spectacular. When the super stylised visuals are infused with this peculiar brand of pulsating synth pop, Drive simply excels. This is how movies should be made.

Imagine the original 1980’s Miami Vice, directed by William Friedkin and absolutely drenched in neo-noir retro styling. Delicately treading the line between action and art, Refn has created something wholly original. Some might argue that Drive is a classic case of style over substance, but when it looks this good – who cares?

Only God Forgives (2013) Review

Back in 2011, Nicolas Winding Refn and Ryan Gosling collaborated to produce one of my favourite films of the past decade. Since then, Drive has become a cult classic. When it was announced that Refn would once again be teaming up with Gosling for a Thailand based gangster movie, expectation was high – sky high.

First off, Only God Forgives does not resemble Drive in the least. Refn has backtracked. The Danish filmmaker’s canon has been growing ever more commercial over the past few years. Bronson, Valhalla Rising and Drive all achieved reasonable commercial success, and could even be considered mainstream films. Only God Forgives showcases the return of Refn to his artistic roots, and then some.

The plot of Only God Forgives is almost non-existent. Ryan Gosling plays drug smuggler Julian, who faces the wrath of his tyrannical mother (Kristin Scott Thomas) when his brother is brutally murdered. The actions of Julian’s psychotic mother soon attract the attention of the brutal Lieutenant Chang, otherwise known as the “Angel of Death”…

Only God Forgives is quite simply one of the most stylish films of the year. Refn has demonstrated time and time again his unparalleled gift for stylistic control, and Only God Forgives is no exception. Rarely do movies look this beautiful, this is film as art. Bangkok is captured magnificently in swathes of red neon, a twisted hell on earth in which Julian is trapped. The visuals combined with the surging electronic score are infused with elements of eastern influence that firmly establish the backstreets of Bangkok as a primary character in this immoral tale of guilt.

All of Refn’s trademarks are notably present. The long awkward silences, scenery bathed in primary colours, haunting electronic score and excessive violence engulf Only God Forgives. It’s almost as if Refn has completely discarded any semblance of plot or character in some sort of bizarre stylistic experiment. This isn’t to say that Only God Forgives isn’t enjoyable, quite the opposite. The films total disregard for traditional cinematic conventions is refreshing, and it’s almost impossible not to admire Refn’s overly stylised nightmare.

It’s almost impossible to tell the difference between fantasy and reality throughout Only God Forgives. Refn’s Bangkok resembles some twisted form of hell, haunted by a neon red glow and inhabited by only the worst kinds of people. There are no heroes in Refn’s vision, only criminals of varying degrees. Julian is himself a criminal, and deserves his place in this hell on earth. Ultimately his quarrel lies with the creator of his surreal nightmare, the “angel of death” himself.

Those who struggle to endure the graphic violence so often associated with Refn's films may want to skip Only God Forgives. The brutality has been pushed to the limit. The colourful outbursts of Kristin Scott Thomas alone are guaranteed to secure a multitude of mid film walkouts from those with a sensitive disposition. Yet it is the violence orchestrated by Refn that truly shocks. One torture scene in particular makes for an uneasy viewing experience. 

Only God Forgives is utterly captivating, although certainly not for everyone - even the most bizarre offerings of David Lynch make more sense than Refn’s disturbed fantasy. Like meeting Colonel Kurtz for the first time, Refn's extraordinary vision is horrifying, confusing and ultimately, brilliant. You'll be glad you got off the boat.

The Place Beyond the Pines (2012) Review

In his previous outing, Blue Valentine, director Derek Cianfrance explored what it means to both fall in and out of love. Widely regarded as one of the best films of 2010, Blue Valentine established Cianfrance as a cinematic talent destined for greatness. His next project sees him reunite with muse Ryan Gosling in what is his most ambitious film yet.

If Blue Valentine was Cianfrance’s answer to the rom-com, then the Place beyond the Pines can be viewed as his unique take on the action thriller. Needless to say, this isn’t Bad Boys; Michael Bay fans need not apply. With Place beyond the Pines, Cianfrance examines the nature of the father son relationship, and highlights the ways in which everyday decisions can impact on an entire legacy.

Ryan Gosling portrays Luke Glanton, a nomadic Moto rider living on the fringes of society. Bradley Cooper plays Avery Cross, an ambitious cop with a powerful father. When Glanton discovers he has a baby son with past fling Rowena (Eva Mendes), he decides to become a father and quits his job as a travelling stuntman. Unable to support his family on minimum wage, Glanton resorts to robbing banks, a decision which changes the lives of both men and their families forever.

The thematic ties between Blue Valentine and Place beyond the Pines are clear. Both films explore the intimate details of human relationships, and make clear the impact of decisions and actions on characters and their families. With Place beyond the Pines, Cianfrance attempts to tie three closely linked stories in order to create one overriding narrative strand. Whilst the film is a success in this regard, its narrative structure highlights some problems.

The first act follows the financial and moral struggles of Glanton as he attempts to reconnect with his family. Gosling is on supreme form, showcasing yet another performance of muted subtlety reminiscent of his magical turn in Drive. Glanton is by far the most interesting character in the film, and his story arc makes for compelling viewing. And therein lies the rub. The first chapter of the film is so damn good that when the focus switches to the character of Avery Cross, one can’t help but feel cheated. While still a related story, the narrative shift is somewhat jarring.

Thankfully Cooper is utterly engrossing as the not entirely likeable Cross. Like Glanton, Cross is trapped in a system against which he struggles desperately. Both men strive to do the right thing, but inevitably fail as the pressure mounts. A brief appearance by Ray Liotta on scintillating form greatly helps the sagging middle section of the film regain momentum.

Where the film most struggles is in its final act, where the children of Glanton and Cross attempt to navigate the pitfalls of the local high school. Thematically, this is where Cianfrance drops his atom bombs. Narratively, however, this is Place beyond the Pines at its weakest point. Despite strong performances throughout, the plot slows to a standstill before working up to the big finale. It’s notoriously difficult to introduce new characters late in a film, so when Cianfrance switches the focus onto two completely unknown protagonists two hours into the film the narrative stalls.
That being said, Place Beyond the Pines excites and delights in equal measure. The high tracking shots of Glanton at one with his motor bike on the deserted rural roads are mesmerising, and linger in the mind long after the credits roll. Tension is sky high during the robbery scenes, and the story arcs of both Glanton and Cross are engaging throughout. Better still is Gosling's post robbery jig with a friends confused dog to the sound of Bruce Springsteen's Dancing in the Dark.

Despite some structural flaws, Place beyond the Pines remains essential viewing. The first hour is quite possibly the finest piece of filmmaking I’ve witnessed this year. Yes, it sags in places, but for the most part the story is riveting, and the acting is undeniably top notch throughout. Highly recommended.