Drive - A

Lawyer's original review with plot points is here. There are small spoilers below.

Valhalla Rising was highly stylized but too grimy and gritty to connect to the characters. The violence was overdone from the opening scene. Of course, I'll never know what director Nicolas Winding Refn did between that medieval debacle and this modern masterpiece. He apparently watched the first and second seasons of TV's Miami Vice. And he probably watched Blue Velvet, Manhunter, and Thief several times too. All films are derivative and have to start somewhere. Refn emulates some of my favorite directors while finding an amazing balance and patience that allows the characters to breathe and develop . . .

Refn's use of color is reminiscent of Kubrick's Eyes Wide Shut. His tight frame composition informs on characters motivations, desires, and connections. Refn's slow camera movements are hypnotic (particularly the shots of the LA buildings). It's always fascinating to see how foreign directors see America and Refn clearly loves Los Angeles. The fusion of music and images is evocative of none other than Michael Mann and as assured as Martin Scorsese. Light bulbs that change intensity are downright Lynchian as is the way Gosling retreats into the bathroom after his shotgun kill.The emotional depth of Carey Mulligan is perfectly balanced by Gosling's flat affect. Some beautiful compositions have Mulligan bathed in red and orange lights while Gosling is supported by cooler colors - blue, green, silver, and white (see below, but there's a better one in the film). A late terrific touch has an Exit sign above Gosling's head as he makes some final decisions. And this is one of dozens. I needed a pause button to keep up with the genius. The editing is consistently intriguing, flashing forward and back just enough to keep it interesting. The tension is brilliantly built with ticking clocks and Gosling's reaction shots.The violence is severe and shocking, but (like Bound's severed finger) the film wouldn't be as intense without it. Some minor flaws include Albert Brooks's shaved eyebrows, Ron Perlman's attempts at profanity, and Gosling walking around in public with blood stains on his jacket. For a guy that plays it safe, this seems way out of character. But the rest of it is pure cinema, probably too artsy for some, but right up my intellectual alley. A massive jump in style and substance for Refn. A