Drive

An action ride that slams you hard into your seat and doesn't let go for a while. Suspenseful to the bursting point, more action-packed than Michael Mann, and packed with ideas to the last second. We've seen plenty of gangsters and silent heroes on the screen for some time now. But never before have I simply had to run back to the cinema the next day to watch a movie again – even if only to observe the continuity of the slow scenes or to savor every tone of the soundtrack. (09/16/2011)

I don't know if it was my restless mood or just the movie being unnecessarily slow for me. Sometimes I even wondered if the picture was stuck. It has its charm and atmosphere though. It may be art in its own way, but it lacks excitement. Ryan Gosling has done better work, in my opinion. Of course, it's not his fault. Unfortunately, the script doesn't allow him to show his full glory. Unfortunately, I see it as just average... 3 stars. (03/22/2012)

Drive reminded me of the movie Collateral in its intimacy. Its story is incredibly subtle, but for the whole 100 minutes, I watched with bated breath and hardly moved, so as not to let go of the incredibly oppressive and minimalist atmosphere in the room. However, it was not just the story that made an impact, but a perfectly directed film in its essence, flawless in both atmosphere, visuals, and especially music, which works wonders with the movie. For example, I liked the opening credits with the music as I haven't liked any in a long time. The whole film had a momentum and Ryan Gosling even showed me fully who he really is and what a good actor is hidden in him. Thanks to this film, I will never forget him and I will look forward to every his contribution to the world of cinema. (05/07/2012)

It’s hypnotic (almost everyone talked about the soundtrack after leaving the movie theater), clings to details (cinematography, sound), and constantly goes against established audience expectations. When I got up from my seat, sweat was pouring off me and it wasn't just the heat in the movie theater. (09/14/2011)

For me, a completely bombastic demonstration of what a director with a vision can do from forgettable genre spectacles. Refn projected his fascination with inaccessible heroes, which is prolonged by passion and also by the fascination with stories in which the hero selflessly sacrifices himself. His pagan relishing of vibrations long after the main action of the shot is once again pure happiness, not to mention the beautifully shot car chases and captivating atmosphere of a Los Angeles night. Again, it should be underlined that for Refn, there is no main logic and story - these are just secondary links to the extremely strong scenes elaborated down-to-the-last detail. I look forward to the listing of all the nonsense that analyst viewers can bear, thinking that there is some consistency and story refinement in Drive. What fascinates me to the core: although this time the characters really talk a lot (they are Americans after all), the essentials about their motifs are expressed by Refn with a hint, gesture, facial expression. He simply remained Nordic, even in a field that is supremely "Hollywood". While it's a film with a completely accessible story, Refn made it into an uncontracted author's manifesto and a festival of subversive image-sound connectivity. I just love that Danish boy! Maybe he should make a Bond film. (09/07/2011)