I’m not going to sugarcoat it. Drive is one of my most anticipated releases of 2011. While others may go nuts for Thunder gods, cowboys and aliens, and robots in disguise, trying to oversell the action and special effects, I’ll take the road less traveled and go a different direction. A direction that leads to smaller features and sleeper films waiting to be awoken by audiences.
Drive is one of those films.
What is already an anticipated film at this year’s Cannes festival gets even better with a first glimpse, as found on the festival’s web site. But first a refresher.
Nicolas Winding Refn, of Bronson and Valhalla Rising previously, took over a project that was once going to directed by Neil Marshall (Dog Soldiers, The Descent) and star Hugh Jackman. Based on the James Sallis novel, the story revolves around a Hollywood stunt driver who moonlights as a getaway driver. With Ryan Gosling in the driver’s seat the star of Lars and the Real Girl won’t be looking to cheat his way into the HOV lane. That’s not his style. Think Steve McQueen, not Paul Walker when it comes to driving. Backing him up is a stacked supporting cast including Carey Mulligan, Albert Brooks, Oscar Isaacs, Bryan Cranston, Christina Hendricks and Ron Perlman.
The two-minute clip follows Gosling in the aftermath of a heist, attempting to evade the attentions of the law. Not once do you get an outside shot of the car as Gosling and crew make their getaway. The nighttime cinematography really stands out and why shouldn’t it – it was done by Usual Suspects‘ Newton Thomas Siegel. Add Cliff Martinez’s (Traffic, The Lincoln Lawyer) electronic score and the crackling from the police scanner and you’ve got very subtle pairing.
After the success that FilmDistrict has had with Insidious and Soul Surfer this year, I expect the same to be true for Drive when it is released in theaters on September 16th.
