drive ryan gosling trailer

drive ryan gosling trailer

As a stripped-down, and the propulsion of the robot voice, Drive is the generally more "American" film, yet the Danish director Nicolas Winding Refn. The film, which was named best director at Cannes Refn last May, is an elegant, tense work, the vehicle's Ryan Gosling, is a daring sort of control, swerving dangerously close to the actress, and suddenly, out of self- parody.

Ryan Gosling Drive.

Film District

Ryan Gosling Drive.

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Starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Oscar Isaac, Christina Hendricks, Ron Perlman, and Albert Brooks. Directed by Nicolas Winding Refn. Written by Hossein Amini. Based on the book by James Sallis. 100 minutes. Rated R.

The story could almost be at the head of a pin: a lonely gentlemen involved in a robbery to help the woman he loves and the case turns out to be an installation, and break out the death toll. As is clear from the Pusher trilogy (1996-2005) and Bronson (2008), Refn is primarily a designer, and this story of a Hollywood stunt driver moonlights as a wheel of hired labor (or is backwards?) and played a scapegoat is a pastiche gathered aerodynamic love 80 movies and television. The most obvious reference is the action film The pilot schematic Walter Hill: This 1978 hymn professionals to cool in the person of Ryan O'Neal, provides more or less as unity, the premise, anti-hero bent, simple and existentialism, and two-dimensional attitude of the time.

Unit is nominally set in the present, but the director of 40 years chose to emphasize the back - or rather, to evoke the time of his adolescence, which synthesizes languishing dissolves Miami Vice dive bars and neon-aligned Blade Runner night walks and angles of the floating head, and slow trucks MTV Top Gun and easy mounting of opera interludes. Time is ticking! The action takes place in an almost subliminal LinnDrum, and the soundtrack is full of sad, wild, romantic techno-pop. (In his interviews, suggests that the programming Refn chaste love story between Gosling's character, without the name and the single mother Irene Carey Mulligan is a remake of his eccentric personal favorite girl, Sixteen Candles). Gosling seedy apartment building "pilot" of life in the hall of depression may be even brighter deep river Irene apartment that serves as the lair of Isabella Rossellini in Blue Velvet, and the supporting cast has a flavor the final 80.

Reagan-era TV-footed monster, Ron Perlman, is a bad film more cheesy, while Albert Brooks, the most important film comedy, plays the murderer, borrowing money in the former producer. "I used to make films in the '80s," says Gosling react, which is trying to take his driver, "action movies, sexy stories - one critic has called them in Europe." (Brooks offers this monologue so well it feels like he wrote it.)

By distributing the lines of his adenoidal whisper, Gosling is underestimated hero, Eastwood, McQueen, a tradition - almost as ridiculous: his trademark toothpick in a minimalist to a little 'cigar-gnawing vulgar Eastwood spaghetti westerns in his. Gosling's performance is entirely reactive: any provocation, he expects to win the match. His silence (and friendly if you fix the smile of Mona Lisa) trumps all other antics. (Comparison with driver almost catatonic Gosling, Mulligan Pixie is so shiny-eyed manic overemotionalizing, as if one of the androids in Blade Runner has been transformed into an appeal for the perk.) Surprisingly pleasant, Gosling driver truly loves to watch TV with Irene is a wonderful girl and is willing to perform dangerous work for free to help her husband (a steaming Oscar Isaac), recently returned from the Slammer. Heist is a hinge. Let the chaos begin.

It's a joke that training, during filming, Gosling money spiffy jacket (with a totem of a scorpion on the back) will become increasingly bloody. The most obvious break with the airbrush Refn 80, and the clearest link to his early movies, is ultraviolent, even splashing horrible. (Christina Hendricks crazy man walks on stage long enough to get his head blown off.) Gosling's character is not only a master of the bumper cars at high speed, but when angry, a nearly insane murderer who, as personal and actor Bronson Refn, use a hammer, steel nails a few, and their hands to take care of business.

Both times I saw the unit, the audience was entertained by explosions audible Gosling. Violence is not so ridiculous, because it is excessive, but because the driver sprays otherwise tested against Dent. The gag works even on two occasions (like the movie). Protagoras Refn attack a villain in a locker room full of strippers clean and runs to another just a few minutes after the paste to the timid proposal, offering Irene. Gosling has a chance to win, but the business is here Refn. This house is completely risibilité strategic milling - both in counterpoint to the old school film of suspense and an antidote to the outer front of sentimentality. Basically, the unit is a song of courtly love and devotion between controllers. This is a machine, but it works.