I don’t know if I would go as far as Zac does by saying that Drive is the best film of the year considering just how different it is from Bridesmaids and Super 8 (my previous favorites) and thus are pretty incomparable, but I’ll call it a three way tie.

I don’t know what it is about it, but giving the protagonist of the film a title rather than a name just does something to their BA factor.  Take The Bride in Kill Bill.  But don’t worry, Drive isn’t full of beeps to cover the main characters name, he is just simply a man without, being solely identified as Driver.  And this is exactly what he is.  His life is cars, working as a mechanic and stunt driver during the day, and a getaway driver when a job arises where his skill set behind the wheel is required.

Goodness based on the last two paragraph starts I am sure not a fount of information.  However, though I cannot give Drive the “best film of the year” award, I can say that Ryan Gosling has done yet another perfect job of creating a character that is at the top of my list of amazing protagonists (still think he was robbed by the Oscars in concern to the lack of nomination for his Blue Valentine performance).

As the driver he creates a presence with looks, physical mannerisms, and skill, seeing as that he is a man with little to say.  He is more of the type to be judged for his actions, and though his actions are that of the criminal variety it is impossible not to cling to his character from start to finish.

Especially when considering other characters and how they connect to him.  Bryan Cranston’s Shannon gives us tidbits of information into Gosling’s character that we cannot glean from his quiet demeanor, creating a desire in Carey Mulligan’s Irene to know more about her neighbor.  Both of these actors should be acknowledged for their work in this film because they are just as amazing in creating their characters, and their performances further feed into our understanding of Driver.  As it progresses and he allows Irene and her son into his life, Driver develops into more than just a quiet force.  Sure, a lot of their scenes still involve little dialog and a lot of glances, but they sure say a lot in the quiet.

Starting at a calm pace, these scenes are perfectly placed to develop characters, relationships, and an understanding of just what is at stake when the film finally shifts gears.  To avoid giving anything plot wise away, it can just be said that when Driver’s unspoken feelings and protective nature towards the people he has allowed into his life are threatened, another side of his true nature is revealed, something much darker than initially anticipated.  Where he was once a calm individual who would be more or less living a life unnoticed, his emotions bring about a new force all together as the film evolves into something more.

Going full blown noir with shady underbelly characters of the untrustworthy variety and unexpected twists and turns to what seemed to be quite a simple plot in the beginning, a new level of violence (gruesome, yet perfect in the jaw dropping kind of way), car chases, and backstabbing ups the anti of this cross genre piece, all for the better.  This heightened level creates a stylized reality, though Drive’s blend of a modern day timelessness in musical choices and costume, as well as noir drenched setting (similar to Brick) have already created a feeling of artistry, it simply becomes all the more saturated as Driver does everything in his power to stay in control.

With its genre-blending, stylized portrayal of some amazing characters and a plot that quickly escalates when the poo hits the fan, Driver is undoubtedly a film that should not be missed.

Final Grade:  A
Hey look! I’m on twitter! Follow @BewareOfTrees
http://platform.twitter.com/widgets.js