Nicolas Winding Refn – We Are Movie Geeks

WAMG Giveaway – Win THE NEON DEMON Blu-ray

“I can’t sing, I can’t dance, I can’t write… no real talent. But I’m pretty, and I can make money off pretty.”

Amazon Studio’s The Neon Demon directed by Nicolas Winding Refn, is a sumptuous horror-thriller, set in the highly competitive and often vicious world of fashion modeling, where the term “eat their own” takes on a decidedly new meaning. When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will use any means necessary to get what she has. The film is co-written by Refn (Bronson, Drive, Only God Forgives, Valhalla Rising), Mary Laws (”Preacher”) and Polly Stenham; and stars Elle Fanning (Maleficent,Super 8), Karl Glusman (Love, Stonewall), Jena Malone (Inherent Vice, The Hunger Games series), Bella Heathcote (Pride and Prejudice and Zombies, Dark Shadows), Abbey Lee (Gods of Egypt, Max Max: Fury Road), with Christina Hendricks (“Mad Men,” Drive), and Keanu Reeves (John Wick, The Matrix series).

Now you can own the NEON DEMON Blu-ray. We Are Movie Geeks has four copied to give away. All you have to do is leave a comment below answering this question: What is your favorite movie with the word ‘Demon’ in the title (Mine is CURSE OF THE DEMON). It’s so easy! We’ll pick the winners next week!

OFFICIAL RULES:

1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.

2. WINNERS WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.

No purchase necessary

The film will be released on Digital HD & VOD on August 30 and on Blu-ray™ & DVD on September 27. Special features on the Blu-ray and DVD release include audio commentary with Director Nicolas Winding Refn and Elle Fanning, and two featurettes – “Behind the Soundtrack of The Neon Demon” and “About The Neon Demon.”

Shot in Los Angeles, the “city of dreams,” The Neon Demon, features a driving electronic soundtrack by Cliff Martinez, who previously composed the celebrated scores for Refn’s films Drive and Only God Forgives, and stunning high fashion by costume designer and past Refn collaborator Erin Benach (Drive).

The film is produced by Lene Børglum (Dogville, Only God Forgives), Sidonie Dumas, and Vincent Maraval. Executive producers are Christophe Riandee, Brahim Chioua, Christopher Woodrow (Birdman,Killer Joe), Michael Bassick (Bernie, The Ten), Steven Marshall, Michel Litvak (Whiplash, Drive), Gary Michael Walters (Whiplash, Drive), Jeffrey Stott (2 Guns, Drive), Rachel Dik (Old Fashioned), Victor Ho (The World Made Straight, Fast Food Nation), Manuel Chiche, Matthew Read, and Thor Sigurjonsson. Co-Producers are K. Blaine Johnston and Elexa Ruth.

Synopsis:
When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will use any means necessary to get what she has.

THE NEON DEMON – Review

Review by Stephen Tronicek

A recommendation of Nicolas Winding Refn’s, THE NEON DEMON prompts the fact that it contains brutal body horror, a sexual moment with a dead body, and serialistic uses of filmmaking technique. That’s where a simple recommendation would end as the people repulsed by such things would walk away. For that, I can’t blame you. THE NEON DEMON, in full estimation, is a deviant film, perverted to its core in many ways. But it is still a great film.

THE NEON DEMON has a plot, but it seems rudimentary. This is a filmmaking experiment carrying a deft and hard hitting message. Jesse (Elle Fanning) arrives in Los Angeles to become a model. She soon meets others lead by Ruby (Jena Malone) and slowly falls into the fearful, serene, and lustful world of the L.A. fashion industry.

But, again that’s all rudimentary. THE NEON DEMON is at its heart (much like much of Refn’s work and the Refn inspired Lost River) an experiment in the creation of emotions through film. The Neon Demon never holds your hand through any of the runtime, and yet gives you everything you need to understand the fury of the themes. It does so simply with lighting. Refn seems to want his audience to pay attention to every detail that he has put on screen and not simply soak into the redundant plot. He seems to want the signifiers of association to fuel his character’s ideals and emotion almost eliminating the need for expositional dialogue. The colors that halfway personify his characters have symbolic meaning, and essentially carry the emotions of the scene. Notice the black and white “cattle” colors that appear, and the abundance of blue and red. With them holding that end of the bargain it allows the actors to create interesting parallels only enriching these scenes.

The message it pushes through such scenes is a severely unsubtle one, and some of the dialogue does slip into being incredibly so, but it’s blatantly well intentioned in its vileness. The whole film is trying to give off the intense depression, and sickening feel that the fashion industry in some way represents, but through its lighting still makes an effort to show the beauty and sereness of it. It almost feels like a warning in film form of the dangers that the industry has. The body horror as well as the other shocking elements that the film represents only seems to valiantly if pervertedly be getting this message across.

The acting talent on display here is perfectly balanced to the filmmaking aspects with Elle Fanning giving one of her most exciting performances, and Jena Malone going all in on everything that Refn has her do (which is a whole lot of crazy). Even Keanu Reeves is given excellent allegorical weight, and such a presence is just the right person for that to happen too. Karl Glusman of Gaspar Noe’s Love is dropped quickly from the movie, but his place in the bigger things at play doesn’t seem important enough to make so much of a difference.

The bottom line is that despite its repulsiveness, THE NEON DEMON is a beautifully created film. It doesn’t always make the right moves as it plays out, but the overall effect is spellbinding. The emotions conveyed in each character, and the colors that occupy them are tear jerking and disgusting. Hopefully, you can experience them.

4 1/2 of 5 Stars

MY LIFE DIRECTED BY NICOLAS WINDING REFN – The Review

This review was originally published during Fantastic Fest 2014.

MY LIFE DIRECTED BY NICOLAS WINDING REFN gives us just a peek into the mind of one of cinema’s most celebrated directors. Directed and shot by his wife Liv Corfixen, MY LIFE… is a documentary that follows the Danish director during the making of his 2013 film ONLY GOD FORGIVES. While her film can be appreciated as simply a small portrait of the acclaimed director, it also taps into the fear and anxiety every artist feels during the creative process. A daring undertaking for someone who has never made a documentary before.

Even though we see Refn in the most mundane situations (waking-up, playing with his kids), he still comes across as cool and enigmatic, not unlike his on-screen heroes. Often we see him in a contemplative state. There’s always a long pause for reflection before he answers a question or responds in a cryptic manner. It’s the silence that keeps you interested in what the director will say next. In many ways he embodies the funny and poignant message he says to Ryan Gosling: “Violence is like sex – it’s all about the build up.” As the scene expands, Gosling frequently glances back at the camera in a self-aware manner, creating a moment that is simultaneously humorous, eye opening, and uncomfortable for the viewer. Again… not unlike the films we have seen from the Danish auteur.

Being the wife of the subject you’re filming has its advantages. As a result Corfixen is able to capture some of the more personal moments that might have only been relegated to home videos. We see Refn’s fatherly side come out early on when his daughter puts herself too close to harm’s way at the family’s hotel in Taiwan. Later on we get a lover’s spat over how to balance their individual careers and parental responsibilities. Moments such as these elevate the film to more than just your standard behind the scenes featurette you would find on the Blu-ray of ONLY GOD FORGIVES. What carries the most weight is the revelation right from the beginning that Refn made DRIVE without his wife and kids present in LA. Obviously they are present during every step of the way during ONLY GOD FORGIVES – which sometimes is alluded to as a burden. Considering the amount of personal problems Refn seems to be dealing with during his follow-up to DRIVE, you begin to wonder if Corfixen has touched upon a personal fear of her own and has thus created a film as a form of therapy.

The idea of legacy and upholding your reputation as a significant artist is a recurring theme in the film. Pressure to live up to expectations following the commercial and critical success of DRIVE weighs heavily on Refn. Seeing an artist at his most vulnerable can be an eye-opening experience. MY LIFE… shows Refn at his most optimistic, and at his deepest low where he openly admits in front of the camera that ONLY GOD FORGIVES is a failure. It almost becomes a guessing game as he switches back and forth between loving and hating the project. As someone who went to art school and continues to produce art in physical and written form, I can tell you that this really is a recurring and often scary feeling.

By the time the film wraps up by showing the premiere of ONLY GOD FORGIVES at the Cannes Film Festival, you feel that the documentary’s swift run-time (58 minutes) has only grazed the surface of some of the problems that Corfixen addresses. Not to mention, when taken out of context and being unaware of the negative press and eventual outcome of ONLY GOD FORGIVES, the doc feels like only a part of a bigger picture. In many ways, the audience – especially the film critics – also becomes a part of the story. We see Refn in the film’s closing minutes reading in bed the reviews following the previous night’s screening in Cannes. He reads aloud a particularly ridiculous and conceited review by a film critic, which ultimately brings a smile to his face. You would think that the hateful words would have a negative effect on the director. It’s a moment that captures all of the feelings of “creating something from nothing” in such an ironic and perfect way. MY LIFE DIRECTED BY NICOLAS WINDING REFN is a thoughtful look at the artistic process and its effects on your personal life. One of the messages to be taken from this is that sometimes a film doesn’t quite connect with its audience. Sometimes it doesn’t even connect with its creators. But then again, that’s life. You just have to grin and bear it.

Overall rating: 3.5 out of 5

MY LIFE DIRECTED BY NICOLAS WINDING REFN will play in select theaters and will be available On-Demand February 27th

MY LIFE DIRECTED BY NICOLAS WINDING REFN In Theatres & On Demand February 27th

After BRONSON, VALHALLA RISING, DRIVE, and ONLY GOD FORGIVES, Nicolas Winding Refn is one of the most exciting directors working today. Refn burst onto the film scene in the late 1990s with the delightfully nasty PUSHER trilogy, and has continued to produce some of the most thought-provoking and visually spectacular genre-benders of any modern auteur. From Tom Hardy’s career-defining titular Bronson to Mads Mikkelsen’s feral One Eye to Ryan Gosling’s icy cold Driver, Refn has time and again crafted nuanced portraits of deeply conflicted but undeniably charismatic antiheroes.

In MY LIFE DIRECTED BY NICOLAS WINDING REFN, Refn’s own deep conflict is swinging in the breeze as we witness him wrestle with the particularly challenging production of ONLY GOD FORGIVES. Directed and shot by his wife Liv Corfixen over the duration of the production and subsequent Cannes debut, MY LIFE DIRECTED BY NICOLAS WINDING REFN captures the very private and intimate moments to which a traditional documentary crew simply wouldn’t have access. The result is a fascinating, detailed look at a creative genius at work and also a portrait of a director torn between the general public’s desire for a “DRIVE 2” and his own mission to explore more challenging narrative territory.

MY LIFE DIRECTED BY NICOLAS WINDING REFN will play in select theaters and will be available On Demand February 27th

Check out the trailer for MY LIFE DIRECTED BY NICOLAS WINDING REFN

Fantastic Fest 2014: MY LIFE DIRECTED BY NICOLAS WINDING REFN – The Review

Even though we see Refn in the most mundane situations (waking-up, playing with his kids), he still comes across as cool and enigmatic, not unlike his on-screen heroes. Often we see him in a contemplative state. There’s always a long pause for reflection before he answers a question or responds in a cryptic manner. It’s the silence that keeps you interested in what the director will say next. In many ways he embodies the funny and poignant message he says to Ryan Gosling: “Violence is like sex – it’s all about the build up.” As the scene expands, Gosling frequently glances back at the camera in a self-aware manner, creating a moment that is simultaneously humorous, eye opening, and uncomfortable for the viewer. Again… not unlike the films we have seen from the Danish auteur.

Being the wife of the subject your filming has its advantages. As a result Corfixen is able to capture some of the more personal moments that might have only been relegated to home videos. We see Refn’s fatherly side come out early on when his daughter puts herself too close to harm’s way at the family’s hotel in Taiwan. Later on we get a lover’s spat over how to balance their individual careers and parental responsibilities. Moments such as these elevate the film to more than just your standard behind the scenes featurette you would find on the Blu-ray of ONLY GOD FORGIVES. What carries the most weight is the revelation right from the beginning that Refn made DRIVE without his wife and kids present in LA. Obviously they are present during every step of the way during ONLY GOD FORGIVES – which sometimes is alluded to as a burden. Considering the amount of personal problems Refn seems to be dealing with during his follow-up to DRIVE, you begin to wonder if Corfixen has touched upon a personal fear of her own and has thus created a film as a form of therapy.

The idea of legacy and upholding your reputation as a significant artist is a recurring theme in the film. Pressure to live up to expectations following the commercial and critical success of DRIVE weighs heavily on Refn. Seeing an artist at his most vulnerable can be an eye-opening experience. MY LIFE… shows Refn at his most optimistic, and at his deepest lows where he openly admits in front of the camera that ONLY GOD FORGIVES is a failure. It almost becomes a guessing game as he switches back and forth between loving and hating the project. As someone who went to art school and continues to produce art in physical and written form, I can tell you that this really is a recurring and often scary feeling.

By the time the film wraps up by showing the premiere of ONLY GOD FORGIVES at Cannes, you feel that this documentary’s swift run-time (58 minutes) has only grazed the surface of some of the problems that Corfixen addresses. Not to mention, when taken out of context and being unaware of the negative press and eventual outcome of ONLY GOD FORGIVES, the doc feels like only a part of a bigger picture. In many ways, the audience – especially the film critics – also becomes a part of the story. We see Refn in the film’s closing minutes reading in bed the reviews following the previous night’s screening in Cannes. He reads aloud a particularly ridiculous and conceited review by a film critic, which ultimately brings a smile to his face. You would think that the hateful words would have a negative effect on the director. It’s a moment that captures all of the feelings of “creating something from nothing” in such an ironic and perfect way. MY LIFE DIRECTED BY NICOLAS WINDING REFN is a thoughtful look at the artistic process and its effects on your personal life. Sometimes a film doesn’t quite connect with its audience. Sometimes it doesn’t even connect with its creators. But then again, that’s life. You just have to grin and bear it.

Overall rating: 3.5 out of 5

Make sure to check out my interview with Liv Corfixen and Nicolas Winding Refn

Fantastic Fest 2014: Red Carpet Interview and Premiere of MY LIFE DIRECTED BY NICOLAS WINDING REFN

The world premiere of MY LIFE DIRECTED BY NICOLAS WINDING REFN was held at Fantastic Fest yesterday in Austin. The wife of Refn, Liv Corfixen, and the renowned subject of her documentary walked the red carpet and greeted fans Saturday morning. Refn and his personal and artistic struggles during the making of ONLY GOD FORGIVES is the subject of Corfixen’s film.

You can find photos from the event below. Both spoke openly to me about the challenges they faced being behind and in front of the camera. Check out what they had to say.

What was his (Nicolas) reaction when you first approached him with the project?

Liv – He was open to it. We did a similar thing about 10 years ago. He has quite an exhibition side even though he doesn’t like to watch himself afterwards. We wouldn’t have been able to do it if he wasn’t so open to it.

Was there anything you learned about Nicolas while filming him on set that was something new for you that you hadn’t previously discovered in your personal relationship together?

Liv – No. Not really. It just confirmed that he’s super intense and…

Nicolas – …Sexy.

Liv – No… that he’s a very good director. And I knew that, but sometimes I was a little impressed by that on set and how fast he moves and can change things and take control. Because I’ve seen him since PUSHER, so seeing him develop as a director has been there all along.

Was there any habits of yours (Nicolas) or elements of your film process that you were afraid to share on camera or wanted to keep hidden?

Nicolas – No. I always say: “the only thing I know is nothing.” So I can never go wrong.

Was there any sort of advice that you gave her before you started this?

Nicolas – No. I think it was just her thing. Me and Ryan (Gosling) were just puppets in this.

Liv – He really didn’t want to interfere. He was just like, “this is your movie and you have to do it your way.” Of course in the end when it was almost done, he was in the ending room seeing this.

Nicolas – You had final cut (addressing Liv). I didn’t do anything.

(pause)

I wanted stuff out and she said, “No.”

Was there a specific idea or narrative you wanted to translate to film?

Liv – I didn’t really plan to make the movie when we moved to Bangkok. It was sort of an idea that came to me while I was there. I started to film and realized it would be interesting to do a documentary about our lives at the time. It just sort of happened. Mainly in the editing room. Of course I have a specific idea of what I like

The culture shock of going over to Thailand and then coming back must have been hard. What was worse?

Nicolas – Moving over there.

(laughs)

We came back to Copenhagen. Back to normality. Now we’re living in LA. Now that’s culture

shock.

(with a smile)

PRETTY WOMAN And Fist Metaphors : Melissa Talks With NICOLAS WINDING REFN About ONLY GOD FORGIVES

One of the most discussed and debated films of the 2013 Cannes Film Festival, ONLY GOD FORGIVES marks the second collaboration between Nicolas Winding Refn and Ryan Gosling. Recently, I sat down with Refn to talk about the film that has been causing quite a buzz with critics and audiences. Check it out below.

Julian (Ryan Gosling), a respected figure in the criminal underworld of Bangkok, runs a Thai boxing club and smuggling ring with his brother Billy. Billy is suddenly murdered and their crime lord matriarch, Crystal (Kristin Scott Thomas) arrives from the U.S. to bring back the body. When Crystal forces Julian to settle the score with his brother’s killers, Julian finds himself in the ultimate showdown.

You went from writing and directing the PUSHER series – to films such as DRIVE, and now ONLY GOD FORGIVES. What has your journey been like from PUSHER to now?

NICOLAS WINDING REFN: Fun. Well, it’s hard. What was it like? I mean, I still make the films I make. I think everything changed when I made BRONSON. That was me forcing into english speaking films. I realized that’s where I wanted to stay. I’ve just been able to make the movies that I want to make. I still live in Copenhagen. I still live a mundane, boring life with a wife and kids. I do mundane, boring stuff.

You’ve collaborated with Ryan Gosling on two projects now. What is it about the relationship, or dynamic between you both that works so well? Is it true that he sought you out for DRIVE?

NICOLAS WINDING REFN: Yeah. He asked if I would make a movie with him. It’s good. It works… on a professional level, which is important, and on a personal level. It’s about having trust and respect for each other.

ONLY GOD FORGIVES was planned before DRIVE. Why did you put DRIVE first?

NICOLAS WINDING REFN: Well, I had… I was ready to make ONLY GOD FORGIVES, and then I decided to go to America to do a film called THE DYING OF THE LIGHT, because Paul Schrader had this script that I wanted to make with Harrison Ford in it… or cast Harrison Ford in it… and then that film didn’t happen. I was like “Fuck!” I went to America and nothing happened. It’s a cliché. Then DRIVE came about, and I said “I’m not going to leave this city without making a movie.” – and so I did DRIVE knowing that I would do ONLY GOD FORGIVES after.

You’re films kind of have a Spaghetti Western feel to them. A kind of Clint Eastwood, Sergio Leone quality – where your leading man is a “man with no name”… the strong, silent type. I’m curious if those types of movies influence you? Where do you find influence and inspiration?

NICOLAS WINDING REFN: I get influence from everywhere, of course. I’m a child of cinema. I like cinema. I can’t get enough of it. But then again, I could be looking out the window, I could be staring out a plane, I could be going on a bus brining my kids to kindergarten. I could be hearing a piece of music. Music a lot! It’s very inspiring because I don’t do drugs anymore, so music enhances my emotion, which is what you tap into to be creative. You tap into your emotions. So, it’s all over. I try not to be dogmatic about anything. I don’t get up at 9 o’clock every morning and start working unless I have to. If I don’t have to I do it at night.

Building off of the last question, what in particular inspired you to write this?

NICOLAS WINDING REFN: Many things. I think the first thing that really appeared in my mind was – I had this idea about doing a film about – when I held my arm like this [holds arm up with a clenched fist, palm side facing him] – the sense of the physical metaphor – the sexual metaphor of the erection that essentially can be an act of violence through your fists. And then going like this [moves hand down] is submission… and in this movement, I knew there was going to be a movie.

This is a random question, but I notice you don’t use the same DOP (Director of Photography) for your films. Is there a reason for that?

NICOLAS WINDING REFN: It forces me to always add a different look to my films. It forces me to never be too much in a comfort zone. Always to remind myself – every film I make – how I want to make it different from the one I did before. If I repeat myself I’ll be really depressed.

You wrote and directed this film, but you didn’t write DRIVE. Do you prefer to write your own script, or do you prefer to adapt?

NICOLAS WINDING REFN: To me, it doesn’t really make a difference as long as I can make the film that I want to make. Filmmaking is a directors medium. I was lucky enough on drive to have great source material, and have a wonderful screenwriter working with me. It took a lot of burden off my shoulders. To me, it doesn’t really matter who does what as long as I can control what I want to make. If anyone’s there to help me, then great. It’s good to know how to do it yourself, just incase you have to. You know, that’s an important lesson.

You acted in PUSHER, but you haven’t really acted since. [Refn laughs] Is there a reason for that, or do you prefer to stay behind the camera?

NICOLAS WINDING REFN: [Laughs] I think, I’m suppose to be very good at comedy. So, Ryan and I talked that we have to do a comedy next, because he’s also very good at comedy. I just never really pursued it.

I’ve noticed a bit of a pattern. BRONSON was done in England, VALHALLA RISING in Scotland, DRIVE in America, and then Thailand for ONLY GOD FORGIVES… Your locations go in a circle around the globe. How important is it for you to always use a different filming location, and environment? Also, were you conscious of this circle?

NICOLAS WINDING REFN: I like to go be a stranger in a strange land because it takes me out of my comfort zone. It means I won’t make the same movie that I did before because I’m somewhere else. Going from Nottingham to the Scottish Mountains is pretty different. And then going from a Scottish Mountain to LA is very different. From LA to Bangkok is very different. So, it’s a constant seeking… other places. It forces me to do something different each time.

You mentioned your love for cinema… What are some of your favorite movies?

NICOLAS WINDING REFN: Of all time?

Sure! You can even through some guilty pleasures in!

NICOLAS WINDING REFN: I like all kinds of films. I love PRETTY WOMAN.

Really?

NICOLAS WINDING REFN: I think that’s one of the few films that I’ve actually paid numerous times to see in the cinema. I think it’s an incredible piece of , of just the greatest trick played on an audience. And it’s so enduring and charming and romantic and fluffy – and yet so twisted. I like all classic, American TCM movies. There’s this film called METROPOLIS that I really like.

Refn is currently writing his next film, I WALK WITH THE DEAD, co-produced with Wild Bunch and Gaumont, and is also turning his attention to television to develop BARBARELLA.

For More Info:

FACEBOOK: https://www.facebook.com/onlygodforgivesfilm

ONLY GOD FORGIVES is in theaters now

Win Run Of Engagement Passes To See DRIVE In St. Louis

Director Nicolas Winding Refn’s DRIVE is currently sitting at a 92% FRESH at Rotten Tomatoes and was given a 5 out of 5 star rating by our own Travis Keune:

“DRIVE is a slowly building roller coaster of tension, the type that takes 90% of its time gradually ratcheting the audience up to the tip top of the incline, before finally letting loose for the final 10% sending the audience into a sudden free-fall, landing firmly within a cushion of existential epiphany.”

If you haven’t seen DRIVE yet, here’s your chance! We have Run-Of-Engagement passes so you don’t miss one of the best films of 2011.

OFFICIAL RULES:

1. ROE’s: Admit-two run-of-engagement passes to see DRIVE at any area Wehrenberg Theatres location playing the film. (passes are valid Mon-Thurs beginning 9/19).

2. FILL OUT YOUR NAME AND EMAIL ADDRESS BELOW

3. ANSWER THE FOLLOWING: What’s your favorite Ryan Gosling film?

WINNERS WILL BE CHOSEN THROUGH A RANDOM DRAWING OF QUALIFYING CONTESTANTS

One more video to convince you!

Synopsis:

Ryan Gosling stars as a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for criminal operations by night. A loner by nature, Driver can’t help falling in love with his beautiful but vulnerable neighbor Irene (Carey Mulligan), a young mother dragged into a dangerous criminal underworld by the return of ex-convict husband Standard (Oscar Isaac).

After a heist operation, intended to help Standard pay off protection money, spins out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). When the gangsters reveal that they’re after more than the bag of money in his trunk—that they’re coming straight for Irene and her son—Driver is forced to shift gears and go on the offense.

DRIVE was written by Hossein Amini, adapted from a book by James Sallis, and produced by Marc Platt, Gigi Pritzker, Michel Litvak, Adam Siegel and John Palermo; executive producers are David Lancaster, Gary Michael Walters, Bill Lischak and Linda McDonough.

Starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Ron Perlman and Christina Hendricks, DRIVE is in theaters NOW.

DRIVE – The Review

Nicolas Winding Refn’s DRIVE is simply perfect. Not since Michael Mann’s 1981 crime drama THIEF, has a film of this type had such an impact, and dare I say DRIVE is even better? Yes, I do. Every woman’s newest sweetheart, Ryan Gosling (CRAZY STUPID LOVE) is Driver, a nameless Hollywood stuntman who moonlights as a getaway driver. He lives simply, adhering to a strict set of rules, which keeps him at the top of his game, out of prison… and alive. On the surface, he’s a pretty boy with a quiet disposition, but hidden within is a strong, efficient survivor with the capacity to be brutal when necessary.

Working as a mechanic for Shannon, played by Breaking Bad’s Bryan Cranston, the two men hold a partnership that handles the criminal side jobs. When Shannon approaches former motion picture producer turned organized crime boss Bernie Rose (Albert Brooks) about a loan to get his driver behind the wheel of a stock car to race professionally, it marks the beginning of a downward spiral for both men. Shortly thereafter, the driver meets Irene (Carey Mulligan) and her son Benicio (Kaden Leos). This is the moment everything changes for the driver.

DRIVE is adapted from James Sallis’ book by Hossein Amini (THE FOUR FEATHERS, KILLSHOT) and directed by Nicolas Winding Refn, a young auteur whose previous films (BRANSON, VALHALLA RISING) have cemented him on my radar of filmmakers to watch like a hawk. The story takes place in the ‘90s, an era not generally known for any memorable, defining nostalgia. Despite this, Refn somehow creates his own nostalgia in which to place the driver, a loner but likable anti-hero. Sporting a pearling white windbreaker with a golden scorpion embroidered on the back, the driver walks with a subtle, unassuming confidence, seemingly invisible to the public eye.

This apparent invisibility is not a chance occurrence. Whatever his training, whatever his life experience up to now, the driver is clearly in control of every aspect of his life, until he meets Irene. Falling almost instantly for her, and bonding as quickly to her son Benicio, the driver takes on a role of responsibility for them. This becomes undeniably crucial when Irene’s past returns to throw everything in jeopardy. Jeopardy is another name for two men; Bernie Rose and Nino, played by veteran character actor Ron Perlman (HELLBOY). One of my personal favorites, Perlman delivers precisely the level of creepy charisma I’ve come to expect, and it works marvelously.

The truly astounding performance in DRIVE however, is Albert Brooks (THE MUSE, DEFENDING YOUR LIFE). Refn has managed to work with Brooks to take every ounce of what makes him such a unique comical character and flips him, fully converted to the dark side. Intelligent, witty and sharp-tongued, Brooks finds that elusive something that equates to a memorably unnerving villain, a bad guy the audience has difficulty disliking. Hands down, Brooks delivers one of the best performances from any supporting actor of 2011.

Ryan Gosling, an actor on the fast lane to greatness, has given audiences stellar work in HALF-NELSON, LARS AND THE REAL GIRL, and BLUE VALENTINE. Unfortunately, he’s probably best known for the lesser quality films he’s done, but has still managed to stand out as the beacon amidst foggier films. Gosling’s performance is quiet, solemn and meticulously paced, much like the film itself. DRIVE is a slowly building roller coaster of tension, the type that takes 90% of its time gradually ratcheting the audience up to the tip top of the incline, before finally letting loose for the final 10% sending the audience into a sudden free-fall, landing firmly within a cushion of existential epiphany.

Carey Mulligan (AN EDUCATION, NEVER LET ME GO) is almost too cute and adorable to imagine in such a film, has offered audiences far more defining performances. For the role of Irene, she succeeds at being a means to an end for the driver’s character development, remaining just within his shadow, but giving us more than enough reason to believe she is the catalyst for the driver’s shift in purpose. In the first act of DRIVE, Gosling and Mulligan build a fascinating chemistry with barely enough dialogue to fill a single page of script.

This silence is a multifaceted thematic element that runs throughout the film. The atmospheric score from Cliff Martinez (THE LINCOLN LAWYER, CONTAGION) is alluring and gentle, but with an edge, occasionally rising to the surface just enough to grab the viewer by the throat as if to squeeze gently, reminding us of the pending danger the driver willing chooses to face head on for the sake of a woman he barely knows. Newton Thomas Sigel provides the cinematography, but is clearly channeling Refn’s visual flair. DRIVE is filled with softly contoured contrast and deep, saturated color woven seamlessly into the shadows to the point of being a subconscious afterthought.

The palette of DRIVE is not unlike that of BRONSON, but inverted from the hyper-intense into more of an ultra-mellow version of itself. More importantly, Refn continues to play with the visual canvas as a storytelling medium, relying less with each film on the traditional dialogue-driven approach, constructing shots and scenes that may have made Hitchcock raise an eyebrow. The care given to composition of frame, to every moment and measure of camera movement, allows Refn to strengthen the impact of his story on the viewer without exposing his presence. This is particularly true in the final moments of the final act, when the driver confronts his villain. Refn creatively conceals details, forcing the audience to inch up to the very edge of their seats, patiently but anxiously.

DRIVE offers all this, but still engages the viewer in the dirty underbelly of the criminal world. Without being overly flashy, Refn incorporates some of the best car chase sequences in recent years. The kind of high speed, articulate stunt driving that has the crowd in awe. As for myself, I had to fight the urge to replicate the driving as I left the theater. It’s that infectious. Likewise, Refn does not hold back on the violence, displaying key moments of passionate brutality, but only when the driver is cornered, like an angry badger defending its young. DRIVE is an R-rated film at heart, but only in the sense that it’s a mature, honest portrayal of a side of society most of us never experience outside of cinema. DRIVE has a few subdued moments of humor, most of which are presented by Albert Brooks, but ultimately proves to be an exemplary achievement as a film from a director as comfortable with style as he is with the actors, resulting in what I consider to be the best film of 2011.

Overall Rating: 5 out of 5 stars

Ryan Gosling & Carey Mulligan Star in DRIVE New Clip & Stills

Film Districts presents these new stills from DRIVE starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Ron Perlman and Christina Hendricks.

Danish director Nicolas Winding Refn (BRONSON, THE PUSHER trilogy, VALHALLA RISING) throttles into the Hollywood fast lane with precision-crafted crime caper DRIVE.

Synopsis:

Ryan Gosling stars as a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for criminal operations by night. A loner by nature, Driver can’t help falling in love with his beautiful but vulnerable neighbor Irene (Carey Mulligan), a young mother dragged into a dangerous criminal underworld by the return of ex-convict husband Standard (Oscar Isaac).

After a heist operation, intended to help Standard pay off protection money, spins out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). When the gangsters reveal that they’re after more than the bag of money in his trunk—that they’re coming straight for Irene and her son—Driver is forced to shift gears and go on the offense.

DRIVE was written by Hossein Amini, adapted from a book by James Sallis, and produced by Marc Platt, Gigi Pritzker, Michel Litvak, Adam Siegel and John Palermo; executive producers are David Lancaster, Gary Michael Walters, Bill Lischak and Linda McDonough.

The film will have a wide release in theaters September 16, 2011.

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ONLY GOD FORGIVES is in theaters now

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Overall Rating: 5 out of 5 stars

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