Drive (2011)

[Daniel]

[Daniel]

Drive will ich auch unbedingt sehen und fast genauso gerne will ich endlich eine Printausgabe der Little White Lies besitzen. Die verstehen was von Layout und vor allem was von Cover-Design.

Siehe [Bild]

Danke für den Hinweis. Diese Ausgabe habe ich mir jetzt mal bestellt.

[Daniel]

Roger Ebert:

I mentioned CGI earlier. "Drive" seems to have little of it. Most of the stunt driving looks real to me, with cars of weight and heft, rather than animated impossible fantasies. The entire film, in fact, seems much more real than the usual action-crime-chase concoctions we've grown tired of. Here is a movie with respect for writing, acting and craft. It has respect for knowledgable moviegoers. There were moments when I was reminded of "Bullitt," which was so much better than the films it inspired. The key thing you want to feel, during a chase scene, is involvement in the purpose of the chase. You have to care. Too often we're simply witnessing technology.

Maybe there was another reason I thought of "Bullitt." Ryan Gosling is a charismatic actor, as Steve McQueen was. He embodies presence and sincerity. Ever since his chilling young Jewish neo-Nazi in "The Believer" (2001), he has shown a gift for finding arresting, powerful characters. An actor who can fall in love with a love doll and make us believe it, as he did in "Lars and the Real Girl" (2007), can achieve just about anything. "Drive" looks like one kind of movie in the ads, and it is that kind of movie. It is also a rebuke to most of the movies it looks like.

Word!

Ganze Rezension

[Daniel]

Heute startet die coolste Filmsau des Jahres endlich in den USA. Bei Rotten Tomatoes stehen derzeit 111 teils euphorische Krtiken 6 Menschen gegenüber, die keinen guten Tag hatten.



Alison Gang:

[...] what [moviegoers] will get is an enthralling piece of filmmaking in the same class as Martin Scorsese’s “Taxi Driver,” and Oscar-worthy acting that firmly places Gosling in the role of top-tier star. (Quelle)

Matt Soergel:

It has style to burn: It's beautifully shot and edited — I mean, it's just flat-out gorgeous — with a fantastic soundtrack and gripping, spare story of double-cross after double-cross. Film geeks will love it, study it, dissect it and watch it over and over. They should. (Quelle)

Peter Howell:

But anyone watching Drive won’t be able to take their eyes off Gosling. Playing a Hollywood stunt driver who moonlights as a wheelman for criminals, he rocks like a young Steve McQueen or Robert De Niro. […]

The two words for action satisfaction this fall?
“I drive.” (Quelle)

Claudia Puig:

In the hands of a lesser actor, Driver could have been an empty vessel. But Gosling pumps the minimalist character with brooding complexity. […] Thoroughly immersing, Drive leaves the competition in the dust. (Quelle)

Eugene Novikov:

It’s a triumph of mood and atmosphere, a film that leaves you in a sad, thoughtful reverie.

I love the idea of Driver as a benevolent cipher, like an action hero from another planet; it gives the film its singular dreamlike feel and lets Gosling have fun with a role that’s almost abstract. But for the same reason Drive is so engaging as it plays — that weird, existential abstractness — it basically evaporates once it’s over. The movie shows up, casts its melancholy spell, and gets the hell out of dodge. It’s one of the fall’s most unique offerings. (Quelle)

Dustin Putman:

In a year that has seen the release of several strong, even great, films, but hardly any that have had the power to knock one's socks off, "Drive" is like a godsend from the cinematic heavens—an air-tight, stripped-down, heart-rending, blood-drenched, anxiety-fueled godsend, but a godsend all the same. (Quelle)

Kevin McCarthy:

Drive is a masterpiece. It's one of those films that you either going to love or you're going to hate. As I left the theatre, I heard people talking about how boring it was or how they much they didn't like. Then, there was a group of people, me included, that were skipping out of the theatre, shouting at the top of our lungs about how amazing that experience just was. It was unlike any film I have ever seen and every single aesthetic came together masterfully. (Quelle)

Moira Macdonald:

"Drive," Nicolas Winding Refn's contemporary Los Angeles film noir, shimmers like heat from an engine. Its soundtrack beats like a pulse; its actors' faces seem to glow in the dim, faintly smoggy light. There's a languid, sleepy quality to it, like it's taking place in some shadowy dream where everyone says less than they mean. (Quelle)

Bill Gibron:

But Refn is the real star. His detailed artistic choices -- '80s retro synth pop on the soundtrack, Driver's moldy satin scorpion jacket -- mesh effortlessly with the needs of the narrative, creating a universe unto itself. […] The result is a sly September surprise, a bit of near greatness in all the gunk. For a movie as crooked as its characters, Drive ends up a straight-ahead thrill ride. (Quelle)

Rebecca Murray:

Surrounded by an outstanding cast of supporting players (Mulligan, Perlman, Brooks, and Cranston), Gosling delivers a powerful performance in one of the most mesmerizing, unforgettable, and unique films of 2011. (Quelle)

Scott Tobias:

At a time when action films routinely pass off freneticness as excitement, Drive is a reminder of how powerful the genre can be when every shot and every line of dialogue has a purpose, deployed for maximum impact. (Quelle)

Cole Smithey:

"Drive" is an impossibly glamorous and gritty film filled with nooks and crannies bursting with action goodness. Sam Peckinpah has clearly been a profound influence on Nicholas Wending Refn. Like Peckinpah [...] Refn understands the menace of sensuality and the sexiness of machines. [...]

The moody techno soundtrack by Cliff Martinez is the hippest thing around. Sexy, violent, and stylized like you can’t believe, “Drive” is a big-screen movie that oozes charisma [...] (Quelle)

Joanna Langfield:

It is with the utmost respect I compare Nicolas Winding Refn’s Drive to some of the seminal movies of the 1970’s….because Drive is as heartpoundingly good as it is slim, stark and hard to shake. (Quelle)

Pete Vonder Haar:

Not to put too fine a point on it, but Drive is easily one of the best movies of 2011. [...]

I really can't recommend Drive highly enough. It's so refreshing to have an honest-to-Bogart thriller that respects its audience's intelligence and rewards it with a theatrical experience that will stay with you for a long time. (Quelle)

[John McCane]

Ich glaube keiner hier im Forum freut sich nicht auf den Film, du brauchst dich nicht mehr anstrengen, Daniel.

[Daniel]

Ich hab gehört, Wolfe hat sich den Starttermin noch nicht rot im Kalender markiert.

[Daniel]

Ich trau mich zwar schon fast nichts mehr zu schreiben, weil der Film dank mir bestimmt bald jedem zum Hals raushängt, bevor er überhaupt angelaufen ist, aber ich mach jetzt einfach weiter. Bitte um Verzeihung...

Drive stylishly

Interview mit Nicolas Winding Refn über die Entstehungsgeschichte des Films

[MesCalinum]

Ich hab gehört, Wolfe hat sich den Starttermin noch nicht rot im Kalender markiert.

Ich lach mich weg. *g*

Vielleicht sollte ich mir extra Urlaub nehmen, um den Film zu sehen? Am besten jede Vorstellung den ganzen Tag, wenn er anläuft? Aber ich bin in der Tat neugierig, will aber die Erwartungen nicht zu hoch schrauben und dat Ding mal auf mich zukommen lassen.

[Thomas]

Ich werde der Lobhudellei langsam überdrüssig. Zu lang höre ich jetzt zu Gutes über den Film. Erwartungen eigentlich nicht mehr zu erfüllen...

[Daniel]

dumdideldum... huch, schon wieder hier gelandet.

Drive at IMDb

Heute Morgen noch Platz 235 der Top 250, mittlerweile 164: "Up 1,000% in popularity this week"

Damit ich auch was Produktives beitrage: Ich glaube nicht, dass man sich diesen Film durch hohe Erwartungen versauen kann. Nicht deshalb, weil man ihn einfach gut finden muss, sondern weil die Art der Qualität eine ist, die man durch Worte nicht gut vorwegnehmen und damit verderben kann. Ich könnte hier die Story haarklein ausbreiten und ich hätte damit ungefähr 2% dessen zusammengefasst, was den Film wirklich ausmacht. Der Film ist zu 98% Stil und Atmosphäre.

Zu sagen "Ich werde den Film wahrscheinlich nicht gut finden, weil er so in den Himmel gelobt wird" ist so als würde man sagen "Ich werde diesen Geruch oder diesen Song nicht mögen, weil er so in den Himmel gelobt wird". Die Sinnlichkeit dieses Films hat mit herkömmlichem Erzählkino nicht viel zu tun, meiner Ansicht nach greift da der bekannte Mechanismus der Anti-Haltung nicht, wenn ein Film zu viele Vorschusslorbeeren bekommt. Man schaut diesen Film nicht, man fühlt ihn.

Daher bin ich der Meinung, dass jeder, der den Film mögen würde, wenn er nichts darüber gelesen hätte, ihn auch dann mag, wenn die ganzen positiven Besprechungen bekannt sind.