This week's blog post title comes straight from the "Drive" soundtrack (full thoughts on the film below). If you haven't seen the film yet, get on it and then get on the soundtrack because it is flawless. FLAW-LESS.
This is probably the most delayed post of the year for and I've made it my aim to put one post per week which has gone well so far. So to anyone who was actually looking forward to this post, I apologise for the delay. I've just been busy the over weekend.
Bianca's behind the camera...
I can't remember much of last week but I do know that last week consisted of a small get together between friends. Ellen's already talked about it in one of her blog posts so I won't get into it too much. But yeah, quite chilled and fun shooting the shit and everything - as all good get togethers usually are. As someone who doesn't go out a lot, this is pretty much what I like to do when I do decide to actually head out with some friends.
WHAT I'VE BEEN WATCHING
Last week I finally got the chance to catch "Drive" at the cinemas. The film stars Ryan Gosling as a Hollywood stunt driver who moonlights as a getaway driver for criminals. This isn't the whole crux of the film there's more to it but that's just the basic set up for the character. And how appropriate as this film is more a character study than something that's driven primarily by the weight of its story.
Gosling excels as the no-named loner of the film, bringing forth flashes of Clint Eastwood's 'Man with no Name' and Robert De Niro's 'Travis Bickle'. Carey Mulligan's role, while rather limited, occupies enough space for her find to her footing amongst the rest of the well rounded supporting cast in Bryan Cranston, Ron Perlman and Albert Brooks (in a role that's menacingly delicious). Unfortunately for Christina Hendricks, her role in the film is almost pointless.
For me this an action film with a very arthouse approach. It treats this genre with the utmost respect and injects enough intelligence into it without feeling pretentious. Slow camera tracking and occasional slow motion may make it feel pretentious and bog the pace of the film but what director Nicolas Winding Refn achieves with this is one of two things: a. it gets you into the head space of our driver through the combination of cinematography and music and b. adds an eerie layer of malice and tension throughout the rest of the film.
The first half the film feels restrained as inklings of action and violence break out here and there but not enough to be enamoured by. It's mostly to set up the romance between our two leads. The second half the film out of no where becomes incredibly violent - so violent in fact that you're pretty much taken by surprise by it. In that regard, I thought that it did well in trying to restrain itself and be as mellow as Gosling's character but once the proverbial "shit hits the fan" that's when the sickness inside his character begins to manifest. The comparison to Travis Bickle is more than appropriate in this case, no?
So far, in what has been a rather unimpressive year of quality films, "Drive" stands out above the pack as something that's intelligent, very well-crafted and most importantly - unique. It looks and sounds like something straight out of the '80s but not only is there a more modern focus over the film, there's also something distinctly different to it, which in this case would be Refn's stylized directorial stamp over the film. I'd go so far as to say that this is one of my favourite films of the year.
No trailer because the trailer literally tells you the entire film, I've just realised. The less you see the better.
No "Tidbits of Film News" for this week because I'm lazy and last week's news was last week's news so yeah. Sorry about that folks. Next week, perhaps?
I'll leave it there. See you guys again this weekend hopefully.