Drive ★★★★½

This is like if one took Steve McQueen and put him in some art house flick. The quietness, smoothness, and the very silent ride of suspense is very unnaturally calming and thrilling. It’s as if you’re taking a trip to the top floor on an elevator, and something sinister awaits you there. Gosling really ain’t bad here as the Driver—a concept that just really floats my boat. A stuntman by day and a getaway driver by night in the beautiful mysteries of Los Angeles.

Not sure where in the world Refn is nowadays, he hasn’t made a new film since 2016. And his last screen work was in Death Stranding (fantastic video game, by the way). Drive is essentially something of a love letter to the classic and cool screen heroes like Steve McQueen and Clint Eastwood. And it’s written (or barely written) in a very menacingly silent manner, but also shows how much of a good guy Gosling’s Driver actually is through the loneliness and longing for this one woman, but he keeps his gentlemanly nature.

Shannon: “A lot of guys mess around with married women, but you’re the only one I know who robs a joint just to pay back the husband. Crazy.”

To be quite honest, that’s just some relatable and aspiring stuff. Silly? Maybe. Righteous as a whole? Yes. This honestly is great stuff. The Driver is a modern-day knight. Again, Newton Thomas Sigel really kills it with the cinematography here and I dig that soundtrack.

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