Thursday, 13 October 2011

Drive

Let me be frank, I haven't been this disappointed by a film since, erm, well, Tinker Tailor Soldier Spy. That's not to say this isn't a good film, it really is. However, it doesn't live up the praise that's been heaped upon it. Like TTSS before it, Drive has been hyped-up to such an extent that it couldn't possibly achieve anything more than disappointment.

On the positive side, the acting's fine, the film looks great and you'd have to say that, based on those two things alone, Nicholas Winding Refn deserved his Best Director win at Cannes. The problem's with the story and the action, or, more accurately, the lack of. In a couple of scenes you can see on Ryan Gosling's dashboard that he's driving about at 12-14 mph, unfortunately that says it all. I wasn't expecting The Fast and the Furious, neither do I get stiffies for automobiles so that's not an issue for me, but, I do expect thrillers to be tense... or thrilling.

Drive provided neither, I experienced no sense of peril and found little that got my pulse racing. Comfortably the best think about the movie is the musical accompaniment. Cliff Martinez’s soundtrack, in places, sounds like what Daft Punk's Tron Legacy OST should have been. Other tracks are reminiscent of, but not quite as good as, the haunting ambience of Vangelis' Blade Runner.

Martinez's compositions are complimented by tracks from Kavinsky & Lovefoxxx, Desire, College and Chromatics and the whole thing blends together to create a masterpiece. Martinez, a former drummer with the Red Hot Chili Peppers, has previously produced soundtracks for Pump Up the Volume, Traffic and Solaris. His next appearance is Steven Soderbergh’s forthcoming thriller Cotagion.

I’ll admit, this is barely a review, simply because there’s nothing really to talk about. Shame.

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