A mysterious Hollywood action film stuntman gets in trouble with gangsters when he tries to help his neighbor’s husband rob a pawn shop while serving as his getaway driver.
Before Sony Pictures Home Entertainment sent me this 4K review copy, Nicolas Winding Refn’s “Drive” had long been a mystery to me. Despite years of glowing recommendations, the trailer hadn’t piqued my interest enough to check it out during its initial release. Now that I’ve finally seen it, I’m left wondering what fueled all the hype.
The film’s first half is undeniably captivating. Ryan Gosling shines as “Driver,” a man of few words with a triple-threat career as a mechanic, stunt driver, and moonlighting criminal getaway driver in Los Angeles. Managed by auto shop owner Shannon (Bryan Cranston), Driver’s solitary existence takes a turn when he meets his new neighbor Irene (Carey Mulligan) and her young son Benicio (Kaden Leos). As he grows closer to the pair, we see glimmers of a potential life beyond his dangerous gigs.
But this glimmer of normalcy is short-lived. When Irene’s husband, Standard (Oscar Isaac), is released from prison early, he’s targeted by the menacing Albanian gangster Chris Cook (James Biberi) over unpaid prison protection debts. Desperate to protect his family, Standard agrees to rob a pawn shop, and Driver steps in as his getaway driver. Things quickly turn deadly, creating a chain reaction that will change everything.
As the stakes escalate, Driver discovers that Shannon’s friend Bernie Rose (Albert Brooks), a Jewish-American mobster, and his partner Nino “Izzy” Paolozzi (Ron Perlman) are behind the botched heist. Fueled by a newfound need to protect Irene and Benicio, Driver sets out to take down Bernie and Nino, even if it means sacrificing his own life.
Ryan Gosling is mesmerizing as Driver, bringing a depth and nuance that sets this role apart from his more recent one-note Colt Seavers role as a stuntman in “The Fall Guy.” Like Clint Eastwood’s iconic “Man with No Name,” Driver is a man of few words, speaking only when necessary and revealing little through his expressions. Yet, as he falls for Irene and Benicio, we catch glimpses of the man beneath the stoic exterior.
The film’s first half is a masterclass in building tension and crafting characters that command your empathy. Gosling and Mulligan’s chemistry is undeniable, while Bryan Cranston brings warmth and depth to Shannon, the one person who truly knows Driver. Albert Brooks is a revelation playing against type as the menacing Bernie, and Ron Perlman is chilling as his ruthless partner.
But for all its promise, “Drive” stumbles in its final act. As Driver seeks revenge against Bernie and Nino, the payoff feels anticlimactic. After watching him inflict graphic violence on their henchmen, the deaths of the main villains happen off-screen, leaving the viewer feeling cheated. It’s a frustrating conclusion to a film with all the makings of a neo-noir classic.
Perhaps I need to check out Refn’s second collaboration with Gosling, “Only God Forgives,” to see if it delivers on the promise “Drive” only partially fulfills. Despite its flaws, “Drive” showcases the potential of its lead and director, leaving you wanting more of what could have been.
Available on 4K Ultra HD SteelBook August 27th
