Nicolas Winding Refn has made a name for himself as arguably one of the most stylised directors around today. With his renowned Pusher trilogy, Bleeder, Fear X and not forgetting the ultra-violent Bronson, he has proved himself to be a genre revolutionary, creating slick, atmospheric cinema that is both passionate and soulful. With the release of his L.A. crime thriller, Drive sees Refn return with brutal force as he takes us into the dangerous underworld of a tender, yet ruthless getaway driver.
Ryan Gosling plays the Driver with no name. With a love for fast cars, we see him double up as a Hollywood stuntman and the getaway driver every criminal turns to. After falling for his neighbour Irene (Carey Mulligan), the pair’s relationship is disrupted when her husband Standard (Oscar Isaac) returns from prison. But when old enemies come to collect money owed by Standard, Gosling steps up to do one last job.
Like the Pusher trilogy, Drive is an aggressively violent film. Bringing in gang bosses and Mafia dons, Refn has sharply presented us the L.A. underworld, filled with sleeze, glamour and more danger than you might expect. With refreshingly understated cinematography for an action film, Refn serves up a film which almost looks like a B-movie surrounded by a cult following. Too cool to be seen in major cinema chains, its individuality makes it stand out, transcending anything you’re likely to see this year. Gosling plays the dangerous Driver with simmering intensity; toothpick in mouth, he appears edgy, but his relationship with Irene soon reveals the warmth hiding behind the icy persona, as he is prepared to risk everything for her. The movie becomes Gosling’s as his immaculate performance strengthens his place in the American film industry. With Bronson, Refn created a film which soon became a British classic and with Drive he has (arguably) created one of the most sophisticated American pictures this year.