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Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac ... see more see more... , Christina Hendricks , Ron Perlman , Cesar Garcia , John Pyper-Ferguson , Russ Tamblyn , Tim Trella , Craig Baxley, Jr. , Jeff Wolfe , James Biberi , Joe Pingue , Dieter H. Busch , Joey Bucarro , Jimmy Hart , Tina Huang , Tiara Parker , Kaden Leos , Andy San Dimas , Kenny Richards , Chris Muto , Rachel Dib , Steve Knoll , Mara LaFontaine , Teonee Tbrasl , Ralph Lawler

Ryan Gosling stars as a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for armed heists by night. Though a loner by nature, Driver can't help f... read more read more...alling in love with his beautiful neighbor Irene (Carey Mulligan), a vulnerable young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard (Oscar Isaac). After a heist intended to pay off Standard's protection money spins unpredictably out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals. But when he realizes that the gangsters are after more than the bag of cash in his trunk-that they're coming straight for Irene and her son-Driver is forced to shift gears and go on offense. -- (C) FilmDistrict

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R, 1 hr. 40 min.

Directed by: Nicolas Winding Refn

Release Date: September 16, 2011

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DVD Release Date: January 31, 2012

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Flixster Reviews (13,344)

  • Callahan441
    April 27, 2012
    Callahan441
    When I got home after a long drive from the cinema, I wasn't entirely sure why 'Drive' was getting the praise it was getting. Coincidentally, I had travelled up to North London to pick up a new car. As my local area's cinema coverage is poor, the only place I could catch 'Drive' ... read morewas in London. The plan was to pick up the car, find my way onto the M25 and see an afternoon screening in Romford, Essex. Unfortunately, this proved to be a minefield of stress, Romford was packed full of people and cars, I was sure that I'd miss the screening, but I'd got far enough into Romford for me to persevere. I got there just in time, but it was these conditions that led me to make one of the biggest misjudgements in my film watching history...

    I was attracted to the style of 'Drive', but more, perhaps macabrely, to the supposed violence of it. The film is spattered with torrents of claret, stark shankings and devastating gunshot wounds; there's also a spot of stomping. The film dishes out violence as it is, ugly and nasty.

    The film started strongly, Gosling was convincing and intimidating, and he remains that way throughout the film, but surely playing the strong silent type is easy money? 'Strong silent type' is something of an understatement, the man is utterly devoid of conversational skills, only when he is working or amidst the drama of the latter half of the film does he fire up. Gosling is reminiscent of Clint Eastwood's iconic anti-hero roles; but I also made a connection with Dustin Hoffman's performance in 'Rain Main'. It's this extremity that perhaps makes his relationship with Irene (Carey Mulligan) slightly implausible (some of their interactions are stupidly painful). Despite this, I think the Driver's growing intensity and his dexterity in violence is gripping; Gosling really nailed it. There is one thing I find utterly unacceptable however, the fact that Gosling chews on a toothpick, please spare us from such unrealistic clichés; Mulligan's character would've laughed in his posey face in reality!

    After my first viewing I was really quite ambivalent about 'Drive'. "The film wasn't bad" I thought, "I'm glad that I saw it". I liked the exciting and somewhat smart and fresh car chase in the introduction; I liked the mood of the film. For the most part, I felt it was the prior knowledge of the film's uncompromising nature that created the sombre, moody atmosphere. It was also the fitting, bass heavy electronic soundtrack that complimented the night sequences. But I left the cinema feeling somewhat hollow; I was preoccupied with how I was going to navigate the M25 and the Dartford Crossing.

    Despite the film having lack of depth and a meagre ending; its unforgiving nature made the film stay under my skin. It made me think that perhaps a second viewing would change my opinion, but on first viewing I couldn't agree with its surprisingly positive reviews, and certainly not with the current 'tomato meter' of 93%. I was surprised at how the film was actually being complimented for being vacuous, "How has it managed that?" I thought.

    After coming to the conclusion that perhaps a second viewing was necessary, I did just that a few months later, and I preferred it, quite a lot in fact. I suppose I knew what to expect, so I made the most of it, lapping up its style and visceral edge. How on earth did the film possibly make a white padded jacket with a yellow scorpion on the back cool? Oh and the driving gloves, they just reek of cool, oh and that black roaring Ford Mustang... I am so impressionable. It got my heart pumping like few other films had accomplished; I really couldn't believe how the film had grown on me.

    I vehemently disagree with the supposed 'subtexts' some people have mentioned. I have read condescending statements on how viewers should 'look closer' to 'understand' the film; pompous nonsense from pseudo-intellectuals.
    Ultimately, though, like so many films, especially those that fall into the revenge/retribution format (think Death Wish/Taxi Driver), they're good until the last stanza, they're hard to wrap up. But I even preferred the ending on second viewing, it leaves unanswered questions; out of the ways they could've ended it, this was probably the most appropriate choice. Drive is an engrossing, genuinely nail-biting film. Though it is a trifle superficial, it's guaranteed to thrill you.
  • fb1463751009
    April 9, 2012
    fb1463751009
    Note: Do NOT watch the trailer before watching "Drive"; it'll ruin the entire experience. Read nothing about the synopsis. Do your best to not know a thing about the movie. So, much like my other reviews, this review is gonna be devoid of any information regarding the narrative.
    ... read more
    "Drive" is a patient but thriller that grips you throughout the entire experience. An incredibly stylish and riveting movie. For my first viewing, I thought that the movie began to wear off because I believed that it never managed to innovate passed its prologue in terms of style and plot. Boy, was I WRONG. "Drive" consistently delivers striking, multilayered cinematography and sublime action scenes to make this one of the most memorable action art-house thrillers I've seen in an extremely long time.

    The beginning scene is perfect. Definitely one of the best intros to an action film this year. It's smart, gripping, and brimming with a very cool style. It got me so invested into the movie that it pumped me up and got me anticipated for what would happen next. I was ready to sit through a great movie that would be remembered for a long time. And sadly, this wasn't the case... THE FIRST TIME I watched it. What was I thinking? Oh man, does "Drive" deliver. "Drive" tries to pull off a very 80's style -- the music, the costumes, the font... but it's not an 80's movie. This isn't to particularly say that this it failed to impress because clearly, "Drive"'s intently focused on delivering a riveting film that exudes an esoteric, magical quality.

    Now, there are two different responses from movies that run off of a cliche plot:
    1) We feel like it is super repetitive and dull
    2) Though it is predictable, we can't manage but be enthralled due to a deft movie package.
    The latter is what "Drive" is. Though it is predictable, it manages to be an impeccable, exquisite film at the top of its rank.

    There's some incredibly rich lighting and vibrantly dynamic cinematography that exudes a richly mystic quality, sharing about the importance of humanity; there's some deep camerawork going on in this piece! The pacing is patient and refreshingly quiet which accentuates the tension. Unfortunately, the acting is dwindles between great and decent. There's a particular scene that Ryan Gosling shares with Carey Mulligan that really questioned the acting talent. I've seen enough films to understand when there are long pauses between dialogue to heighten and accentuate the atmosphere and emotions of the scene but it was not coupled with enough acting talent to upbuild the scene (it just seemed like in between their lines, they were smirking at each other by how awkward they felt). That's not to condemn Gosling or Mulligan -- I think they're great actors, but it doesn't take a genius to feel the tension of awkwardness in that particular scene.

    "Drive" is a methodical, meticulously well-crafted thriller that delivers tension, thrills, and profound themes through its slow but patiently rewarding pacing, all coupled with a luscious and rich art-house style. This is a must watch.
  • djdemersseman
    April 6, 2012
    djdemersseman
    What could've been a near-excellent film is often dragged down by its over-loud neo-80s soundtrack which effectively castrates some of the film's most powerful scenes, especially when combined with the occasional slow-motion or Gosling's hi-I'm-an-otherwise-mild-mannered-vigilant... read moree-psychopath vibe. That said, leading up to the second-to-last death in the movie when the music switches to a more orchestral sound, it proves much more effective, if relatively derivative, if for no other reason than that it no longer relies so heavily on the pseudo-80s sound.

    Moreover, Gosling may not have been fully up to the task, but casting-wise, Refn could've done far worse as Gosling puts up a rather valiant effort. And that's basically where the film's weaknesses end.
  • fb1672039553
    April 3, 2012
    fb1672039553
    Subtle, honest, distinct. Like a good western, our driver's quiet nature allows for surprise in each preceding scene. I don't want to elaborate for fear of ruining someone's adventure into this character. "Drive" is the kind of movie I imagine a zen-state Quentin Tarantino creati... read moreng after a 10 year spiritual journey into the heart of man and nature.
  • yona71
    April 1, 2012
    yona71
    Not the most scintillating film, but there are some interesting action sequences here, primarily involving car chases. By no means of the"Bullit" caliber, but watchable nevertheless.
    A film that can be a bit slow at times, but then something you wouldn't expect happens which kin... read mored of peaked my interest. The mood of the film is helped by a somewhat quiet score, then it can go in the opposite direction giving a feeling of not being here nor there.
    Ryan Gosling stars as a stunt driver who divides his time between jobs on a movie set and being the driver for a heist of some sort. As one may suspect from this kind of work, things go awry for his ex-convict friend's attempt to pay off his protection money leaving Driver with more to deal with than a clever maneuver in a car.
  • cosmo313
    March 20, 2012
    cosmo313
    This film is a very slick and awesome conscious mix of contemporary and retro aesthetics and stylization, and, even though I'd prefer the decade for the retro callbacks to be the 70s instead of the 80s, this is still a wonderfully art directed (and artsy) action film.

    Instead of... read more taking a page from stuff like The Fast and the Furious, this is a car movie that, as I mentioned, goes for a far more retro look and feel, yet still throws in plenty of modern sensibilities. It's an action movie, but it's also very artsy, a tad pretentious, and the sort of action film that people would normally hate action movies can get into and enjoy.

    In a way, this is a very philosopical film that really grooves on existentialism, mystery, and ambiguity. Our lead is a guy credited simply as Driver, but also referred to as Kid. We don't know his real name, or really all that much about him, aside from surface details. He works in a garage, does part time work as a Hollywood stunt driver, and spends his nights moonlighting as a getaway driver for hire for any criminal that wants him.

    He really doesn't say much, but as they say, actions speak louder than words..and whe nhe gets into some nasty business with the mob after a job gone wrong, his responses really get nuts. Mostly that has to do with his neighborlady (and prospective love interest) getting targeted too, something that Driver just can't stand for, especially since she's an innocent.

    So yeah, this film has a very simple, familiar basic premise, and there's not much in the way of character development or heavy , heavy plot, so it's mostly all about the fun stuff like the action and the stunts. What''s funny thoguh, is that the film isn't wall to wall action. When we do get bursts of violence though, they come swiftly, unexpectedly, and things get rather graphic and shocking at times.

    Where the film puts almost all of its focus then is on mood, tone, and atmosphere, and, if you dig ambience, then this film will definitely satisfy. The cinematography, music, editing, and all of that is just gorgeous, and the costumes (all hail cool gloves and jackets) rock, as do the cars. The film is sorta deep in a very ponderous way, but I enjoyed it.

    It's probably not really as deep as it wants you to think it is, mostly because it is very vague, and the dialogue is quite sparse at times, but hey, sometimes it's okay to just loosen up and let things flow, even if not a long happens (until the sudden bits of violence from time to time). If the film had spent some more time giving insight into the characters, and really developing them a lot more, then I'd definitely bump this up to a full 5.

    As it stands though, I just can't quite do that. I do dig the performances here. Gosling is definitely starting to eclipse Depp as the epitome of cool, and there's nothing wrong with that. He's a bad ass, even if his lonely and mysterious ways can sometimes be frustrating. Carey Mulligan is nice as Driver's neighbor/potential love Irene, even if she does spend most of her time looking at him longingly without saying a word. Oscar Isaac is good in his role as an ex-con who decides to play the part atypically. Bryan Cranston also delivers solid work as always as Driver's main business associate. The villains though are where the film gets juicy. Perlman of course is stellar, but yes, as tons of people have already stated many times before, this film features an excellent villainous turn from funny man Albert Brooks. He's played baddies before, but this is the first time he's played one that was legitimately scary, intense, and intimidating. Damn the Oscars for snubbing him, because he's brilliant.

    Blah, blah, blah. You should have picked up on how I feel about this film at this point. It's awesome. Go see it. It's not a perfectly brilliant piece of work, but I definitely do think it lives up to the hype.
  • fb1378820053
    March 17, 2012
    fb1378820053
    The first 15 minutes of this film is the best opening for a movie this year. Drive is a slow burning movie but when it get's going you can't look away. The Film looks brilliant and has a nice retro look about it, the acting is Solid and the directing is fine. Probably Drive's bes... read moret scenes are the Bloody, brutal Violent one's.

    Drive may be slow and inpatient but when it reach's full throttle it's unbearably good!
  • LWOODS04
    March 10, 2012
    LWOODS04
    Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman

    Director: Nicolas Winding Refn

    Summary: A Hollywood stuntman who moonlights as a getaway driver is lured from his isolated life by a lovely neighbor and her young so... read moren. His newfound peace is shattered, however, when her violent husband is released from prison.

    My Thoughts: "Well the hype was definitely worth it for this movie. I really loved it. The acting, the directing, even the gore of it all. It really has everything a good thriller needs: love, murder, gangsters, police chases, car chases, and some bloody good fights. The soundtrack was awesome as well. It's always nice when you get a good feeling about an actor like I did with Ryan Gosling, to see them do such fantastic work and finally start getting recognized for the talent they have. He was so great in this movie. I also love Carey Mulligan. She is another actress that will do big things. She is very talented. Drive has great twists an turns, if you haven't seen it yet then put on your list."
  • gokhale1
    March 1, 2012
    gokhale1
    When you finally get your hands on a film that has managed to win laurels from all around you, you know your expectations are high. "Drive" was one of the year's biggest Oscar snubs for unknown reasons, being nominated (deservedly too) in the sole category of "Best Achievement in... read more Sound Editing". That is just one of the many great qualities of this film though.

    The protagonist (Ryan Gosling) is a silent, brooding tough guy known only as the "Driver" or "kid" as some of them call him. He is a part time mechanic in a garage, a part time stuntman for some action films and also moonlights as a driver on hire for driving getaway cars for robbers/hoods who want to pull off a heist and also have a quick means of escape. Circumstance gets him involved with a cute looking Irene (Carey Mulligan) who has a little kid for her to take care of and a husband (Oscar Isaac) doing time in prison. No points for guessing that there is instant bonding between the Driver and Irene and her kid. The Driver takes care of them for a while...takes them on joyrides, gives company to the kid and the mother once in a while, among other things. But beyond this cliché of an accessory to crime possessing a heart of gold reserved for the cute married woman with a kid there is a lot going on between the driver's friend and employer, Shannon (Bryan Cranston), and a mobster named Bernie Rose (Albert Brooks) and his partner, a Jewish gangster by the name of Nino (Ron Perlman). The plot thickens when certain events connect the Driver directly with this pair of gangsters and also Irene's husband Standard who suddenly returns.....

    [img]https://lh5.googleusercontent.com/-S9PU0g0nGCk/TzdikPC9_jI/AAAAAAAACJ8/LKJd-2QHzuE/s672/vlcsnap-2012-02-09-19h51m23s233.jpg[/img]

    The story is best left for the viewer to unravel but rest assured, this film goes far beyond the plot. Firstly, it serves as a rather intimate character portrait of the protagonist whose roots are unknown, who seems like a rather cold and distant individual, a socially inept loner who exhibits least remorse when it comes to doing something not particularly ethical, yet one who also possesses a heart of gold...for those who deserve it of course. Others get a taste of his ultra-violent side! All of the scenes revolving around the Driver are very well-written and capable of giving us a satisfying picture of this mysterious individual and also manage to catch us by surprise at several instances. Particularly noteworthy is one scene in an elevator (excellent scene, brilliantly acted) and some subtly clever scenes like the one when Irene's husband Standard (Oscar Isaac) is sharing a light moment when he and Irene met for the first time, with his son and with the driver. The expressions on the faces of both Irene and the Driver are priceless! Or that scene when the Driver and Irene's son are watching something on TV and the son calls the shark a "bad guy". "There are no good sharks?", The Driver asks. Superb moments all!

    [img]https://lh5.googleusercontent.com/-IGk1p_9DzKI/TzdlTYU8WrI/AAAAAAAACKA/YgDgDJY0SXo/s672/vlcsnap-2012-02-12-12h37m01s135.jpg[/img]

    Moreover, the film excels in almost all technical aspects with flying colours. The sound design and editing as mentioned earlier is top-notch; one of the standout aspects of the film. The cinematography is beautiful; there are sometimes long slo-mo takes clubbed with a hypnotic background score that give the film a dream-like, meditative quality, oozing oodles of atmosphere. Also well-done is the electro-pop soundtrack and the placement of songs, especially the title piece ("Nightcall") that sounds like the distinctly 80s synthpop. Some have called the film 'slow' but thanks to Nicolas Winding Refn's command on the handling, his product is one of the most engrossing films I've seen in a long time. It is also refreshing to see that despite this being a film that has heists and car chases, it is made to look more like an art-house picture that slowly establishes itself and gradually builds up the viewer's mood rather than looking like a quick-cut-edited pop-corn actioner. The only thing that connects this film to the latter category are the somewhat unreal instances where our hero dodges near-fatal situations and magically survives (mostly without a scratch!) near-death experiences like dangerous car stunts and chases, sudden shotgun surprises, lone attacks in foreign territories and stab wounds! The violence is gory (also unrealistic at times), perhaps to please the gorehounds and action film buffs alike!

    [img]https://lh4.googleusercontent.com/-XKDhUgzX6Zw/TzdlSuFyC-I/AAAAAAAACKE/Krxh17S6ZAQ/s672/vlcsnap-2012-02-09-19h49m33s160.jpg[/img]

    Now, for the performances. Albert Brooks who is perhaps the best of all the supporting actors; does a marvelous job as the soft-spoken yet crooked gangster Bernie Rose. Ron Perlman, an often overlooked actor is outstanding as the scary looking Jewish mobster Nino. Carey Mulligan looks cute and is a brilliant performer as well. She has a very expressive face and uses it very aptly in some of the film's best scenes. Your heart goes all out to see her take care of the kid alone and really wish something good would happen to her.

    Ryan Gosling exudes coolness with a capital C with uber-confidence in the more restrained scenes of his, where he conveys a lot through his face which shifts between a brooding, intense look to a deadpan stare and then to a goofy smile, especially when he is with Irene or her kid. However, it is during the times when it is required of him to emote or exhibit outbursts that the actor feels a little ill at ease and seems to lack the spontaneity. Therefore the way he delivers some lines or the act that he displays seems a tad forced. This renders his performance somewhat inconsistent and that is where the actor loses points in an otherwise fine job of acting.

    Winding Refn has said that the film is a tribute to Martin Scorsese's masterpiece, "Taxi Driver". And one can instantly recognize the homage from some situations in the picture and also the overall persona of the protagonist. (And is it just a coincidence that Albert Brooks appears in that film as well as this?) While this film cannot possibly equal the Robert De Niro starrer, it is a splendid work of art on its own merits. A definite must-see and must-own.


    Score: 9/10.
  • helpahorse
    February 29, 2012
    helpahorse
    Hear me out before you start yelling at me.

    I hated this movie, but I have good reasons. The thing that made me watch this film in the first place was the trailer. The trailer made it seem like a fast action flick with all the car chases and kick ass violence. Even though the ... read moremovie did have a couple sweet car chases and kick ass violence, it wasn't the way the trailer made it out to be. The trailer led me to believe that this was a fast paced thriller, and it was not.

    I tried to like this movie, but I just can't. I may attempt to watch it again, but I really don't want to. I respect the director and his artistic style and the approach he was going for, but I don't think it was executed very well. Honestly I think this movie is completely overrated and here's why:

    1) Characters. There was hardly any dialogue- mostly just vacant stares between the actors. The lack of dialogue was fine with me, but then how were the characters developed? Ryan Gosling's girlfriend had NO personality. There's no denying that. She was nothing more than a face the entire movie. Then we are supposed to believe *SPOILER* Ryan Gosling and this girl are in love? I don't think so....they barely knew each other! And the audience barely knows her! I honestly did not care about any of the characters. I didn't care what happened to any of them because I didn't know them. They were all just faces and nothing more unless there was a deeper meaning which was obviously not conveyed very well. The only character I feel was developed was Ryan Gosling's character (what the fuck is even his name?!).

    2) Careless mistakes. There's been some people talking about it. *SPOILER* When Ryan Gosling rams that guy's car off the edge of that cliff...Gosling's car remains unharmed and beautiful while the guy's car got totaled. How is that possible? How could a mistake like that go unnoticed by the film crew? How could a movie get a 93% if they make such amateur mistakes? Overrated! Overrated! Overrated! Then when *SPOILER* Gosling is in that car chase, he spins his car around and floors it in reverse...then while he's speeding in reverse you hear the car shift gears! Shift into what gear? He's going backwards! THEN *SPOILER* before Gosling spins his car around and goes in reverse in his 5.0 MUSTANG, the other car which is like a 300 is able to keep up with the Mustang the entire time (even when the stang is in reverse!). It was just stupid. Why didn't they pay attention to this stuff? The movie is called "DRIVE", so maybe they should've focused a little bit on the car aspect of it.

    3) Execution. The movie was to build up suspense right? I hate movies that drag out scenes for longer than need be. The vacant stares and socially awkwardness in all the scenes were ridiculous. (This is just my personal preference by the way). I also didn't like the excessive slow motion effect. I think slow motion works really good in moderation, but this movie went overboard. Everything was in slow motion- and because of this nothing was emphasized or stood out to me. That's what the slow motion was used for in this movie right? The director wanted us to get caught in the moment like the characters and feel some suspense/thrill? Yeah, that didn't work for me.

    4) Music. I heard a lot of people either love the soundtrack or hate it. I hated it. I know the director was trying to use the music to convey what the characters were feeling, but that's not what I got when I watched the film. All the music sounded eerily similar as I was watching. It seemed like they were just replaying the same songs. It just felt out of place in the movie. The movie had badass violence then a really terrible song would play that would completely change the mood and I was like what the fuck? Music selection is really based on personal style, and if I had made this movie I would've gone a little edgier.

    I'd probably list more, but I can't remember much. I did enjoy the car races and the random acts of violence that literally came out of nowhere; I was so excited. It was pretty cool and unexpectedly graphic...like really, really graphic like Hostel graphic. I think I liked the first half of the movie because I remember thinking "Hey! this movie is pretty good!" then towards the middle I was like "eh...this is kind of boring" then near the end I was like "GOD WHEN IS THIS OVERRRR". A movie is supposed to captivate the audience and keep them intrigued and this movie failed to do both (at least for me it failed). Maybe I wasn't able to appreciate the artistic vision the director executed (or attempted to execute), but I just plain didn't like it. I can appreciate it for what it is- it got a 93% it must've done something right, but I hope I never have to watch it again.

View All Drive Reviews

Critic Reviews

Anthony Lane
September 20, 2011
Anthony Lane, New Yorker

In grabbing our attention, [Refn] diverts it from what matters. The horror lingers and seeps; the feelings are sponged away. Full Review

Christopher Orr
September 16, 2011
Christopher Orr, The Atlantic

The extreme and escalating violence will prove off-putting to some-frankly, I'm surprised not to have been among them-but for the rest, Drive is a needle-punch of adrenaline to the aorta. Full Review

Lisa Kennedy
September 16, 2011
Lisa Kennedy, Denver Post

In reworking genres without quoting shamelessly, Refn proves himself his own man and a guy quite capable of taking us places we didn't even know we wanted to go. Full Review

Tom Long
September 16, 2011
Tom Long, Detroit News

Drive is pedal-to-the-metal stuff. Don't get behind the wheel unless you can take the rush. Full Review

Rick Groen
September 16, 2011
Rick Groen, Globe and Mail

This is no antic-frantic affair; instead, it's a cerebral game of stop-and-go, hide-and-seek, as the director behind the camera handles things exactly like the guy behind the wheel - with a stylish mi... Full Review

Laremy Legel
September 16, 2011
Laremy Legel, Film.com

The pace of this film is a beautiful thing to behold, as Drive is a patient but taut thriller. Full Review

Stephen Whitty
September 16, 2011
Stephen Whitty, Newark Star-Ledger

For stone-cold, retro action fans who are tired of all these over-edited, underachieving thrillers - well, here's one car chase movie that isn't running on empty. Full Review

Peter Howell
September 16, 2011
Peter Howell, Toronto Star

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. Full Review

Ann Hornaday
September 16, 2011
Ann Hornaday, Washington Post

Gosling and director Nicolas Winding Refn neatly manage the hat trick of paying homage to those wheelmen of yore while reinvigorating the genre with style, smarts and flashes of wit. Full Review

Lou Lumenick
September 16, 2011
Lou Lumenick, New York Post

It's fun, but the script, credited to Hossein Amini ("The Wings of the Dove"), is short on characterization and long on plot twists and wisecracks. Full Review

Critic ratings and reviews powered by RottenTomatoes.com

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Facts

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    • Driver: You Fucking told him, Shannon I should kill you, I should fucking kill you. You have to get out of here, you understand. They are going to look for you and me, you have to leave.
    • Bernie Rose: Chopsticks and a fortune cookie.
    • Driver: If I drive for you, you get your money. You tell me where we start, where we're going, where we're going afterwards. I give you five minutes when we get there. Anything happens in that five minutes and I'm yours. No matter what. Anything a minute on either side of that and you're on your own. I don't sit in while you're running it down. I don't carry a gun. I drive.
    • Cook: You look like you're hard to work with.
    • Driver: There's a hundred-thousand streets in this city. You don't need to know the route. You give me a time and a place, I give you a five minute window. Anything happens in that five minutes and I'm yours. No matter what. Anything happens a minute either side of that and you're on your own. Do you understand?
    • Driver: My hands are a little dirty.
    • Bernie Rose: So are mine.
    • Shannon: You put this kid behind the wheel and there's nothing he can't do.
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Drive Trivia

  • Film soundtracks (You Drive Me) Crazy - Britney Spears Name that film (clue's in the title)  Answer »
  • What is the city which Harry and Lloyd in Dumb and Dumber drive to?  Answer »
  • Which movie has this tagline : " A woman in search of stardom. A woman in search of herself - in the city of dreams. A key to a mystery - lies somewhere on Mulholland Drive " ?  Answer »
  • Which movie is the following quote from? You're not your job. You're not how much money you have in the bank. You're not the car you drive. You're not the contents of your wallet. You're not your f&%$?@g khakis. You're the all-singing, all-dancing crap of the world.   Answer »
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