Before fuel injection was invented, all car engines had something called a choke valve, which was designed to limit the amount of air drawn into the fuel chamber while the engine starts. This is also an accurate description of Drive, an engaging crime thriller held back by some odd creative choices.
The main character, referred to only as “Driver” (Ryan Gosling), seems like he has a permanently operating choke valve. He moves little, speaks less, and when he does say something, it’s mostly neutral and to the point. A natural behind the wheel, he works as both a mechanic and a stunt driver for Hollywood movies. His boss, Shannon (Bryan Cranston), also brokers him out as a getaway driver for holdup men, a job which Driver is ruthless about keeping separate from the rest of his life.
It doesn’t seem like Driver has much of a life to protect, until he meets neighbour Irene (Carey Mulligan) and her young son. Irene’s husband is in prison, and between her loneliness and Driver’s kindness, a relationship is born. Then Standard (Oscar Isaac) returns from jail, and when his debts lead to threats on Irene and the boy, Driver steps in to help.
Up to this point, it’s difficult to know what to make of the film. Director Nicolas Winding Refn often seems to be courting the art house more than the action fan. There are loads of long, static shots of Driver staring off screen, waiting, sizing up a situation, or even just watching TV. We can sense things are building, but the movie takes its sweet time getting there, and it’s almost frustrating.
Then, as things start to go bad for Driver, a curious thing happens. As with all stories like this, violence erupts, and the violence in Drive is extremely graphic. But it contrasts so much with the stillness and quiet of the first part of the film that it seems even more brutal. This is neither a compliment nor a criticism, but there’s no doubt it’s effective – gasps are forced from the audience at some of the things Driver does.
Other parts are less effective. Some sequences seem geared more toward the director’s needs than the characters’. And Winding Refn has given the whole movie a look of the kind of low-budget action flicks you could find on tape in the 80s, including quirky music on the soundtrack, cheap-looking pink credits, and the white satin scorpion jacket Driver wears. These affectations cause unnecessary distractions. Also, apart from a clever opening scene, there’s much less actual driving than you’d expect.
Gosling is great in showing us both Driver’s gentleness and his brutality, and Mulligan’s Irene has a damaged sweetness that’s lovely. Albert Brooks is an unconventional choice for a mobster, but he’s good too. Cranston and Ron Perlman are excellent actors, but don’t get much to do, and Mad Men‘s Christina Hendricks is there and gone before you can even recognize her.
Drive is worth a look, but your mileage may vary.
Tags: movie review
About the author: David Raitt
David Raitt is a writer and lover of pop culture. He lives in Oakville. He has also worked as an actor for The Second City, and has written, produced and performed his own sketch comedy, including the Canadian Comedy Award-nominated ALL THE RAGE. Semi-retired from performing, he still teaches improv and communications skills to students and corporate groups through his association with The Second City. Check out Dave's website at http://davidraitt.com
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