Dylan Majerus’s review published on Letterboxd:
As corny as it may sound "Drive" is more than a film, it's art. A second viewing of one of my favorite films couldn't have been more settling than the first. What "Drive" accomplishes in a mere 95 minutes is impeccable.
The film opens with an exhilarating car chase sequence that dazzles and dashes through the streets of LA. From this sequence, we can already tell that director Winding Refn knows his way around a camera. What's interesting about the scene is that it never leaves the car, all shots are within the interior of the vehicle. Refn is able to achieve immense amount of suspense from multiple angles inside the car rather than crashes and explosions.
While the film opens with a thrilling sequence, many may suspect more heart pounding action and gun fights. But what makes "Drive" so fantastic is its subtlety within the story and the reality of the character's lives. The focuses on the interaction between the unnamed driver(Gosling) and his neighbor Irene(Mulligan). The dialogue between the two is minimal as aren't a lot of thorough conversations. But what Refn shows in his script is that the minamlistic dialogue between the characters in the film prevails as the viewer can get a greater understanding if who the characters truly are as people. And that is probably "Drive"'s strong point. The way the audience can experience the film within the heart of its characters. You feel the raw emotion portrayed by the actors, like the film, it feels real, organic, and authentic.
The film from a technical standpoint is very well done. The cinematography is beautiful. Each shot of LA looks incredible, the setting is definitely one of the film's best aspects. I also enjoyed the soundtrack. There are a lot of meaningful and fitting songs to important moments in the film.
While the film doesn't rely on the action sequences, the scenes presented in the film are incredibly well shot. There are several moments in particular where the film gets extremely violent. Gosling's character surely goes through an intriguing character arc in the latter half of the film and when some of these sequences go down, it's entertaining as hell.
There is so much to say about how I feel towards this film. Every shot feels special, every moment is necessary, every character is precious. What is so sad about "Drive" is the unrecognizable praise its gets. While popular amongst avid film buffs, "Drive" is not yet as appreciated among the average film watcher. As of now, "Drive" is a modern classic. It most certainly deserves more recognition for its strong performances, delicate story, and Refn's intriguing style of film making if it one day will reach that illustrious all time classic definition, which I believe it can achieve.