Drive | Nicolas Winding Refn, 2011

Amidst the backdrop of the neon soaked streets of Los Angeles in the early 2000's, 'Drive' takes a classic story of love, betrayal, and escaping the demons of one's past, and rolls it into all into a high-octane adventure with a fresh coat of nostalgic paint. Ryan Gosling brings an otherwise stoic character to life on the screen, and the directorial style lends brief moments to show you what the protagonist is thinking rather than telling you. At the same time, this leaves the audience waiting on bated breath to see what direction the story is heading in next.

Original Art from Panic Studios created by Logan Kern 7/22/26

For all of it's triumphs, the story of Drive also leaves me a perplexed. This movie falls in at a runtime of just over one hour and forty minutes. This movie has the cast, characters, and setting to warrant at least and extra 20-30 minutes of runtime to flesh out the story they're telling. Each plot point feels rushed and wraps up too close to when it is introduced for the audience to genuinely grasp the weight of the situation our characters are in.

Ron Perlman acts as the cartoonishly evil mob boss, but his screen time is so minimal that he never feels like anything more than that. Oscar Isaac always makes a fine addition to any film, but we don't get to experience the connection between him and Gosling boil over in a meaningful way. Bryan Cranston plays the steadfast right-hand man, but we don't spend enough time with him and Gosling together to build their relationship when the film ultimately reaches it's climax.

The magic of Drive doesn't necessarily rely on it's pacing, though - rather it literally straps you in the driver seat of a man trying to outrun his past and build a better life for himself. However, this life feels unattainable, and we see Gosling possibly visually ponder this many times throughout the movie. It seems as if each decision he makes only leads him further down the rabbit hole, farther from where he wants to be. This movie begs the question ' How far would you go to protect someone you care for, and how much are you willing to risk for their safety?'. It is this question that the plot mainly tackles, leaving the crime/mob story to stew in the back seat.

I would also like to point out that this was the last major film to be shot in LA before streetlights were changed to all LED bulbs. This gives the movie a unique feel and a soft orange glow that modern movies set in the same locations wouldn't be able to capture without the help of an editor. The scenery serves to swallow our characters in its ominous ambiance as the plot progresses. It is a minor detail that plays a large role in the feel of the film, as the setting is just as large of a character as the individuals involved. This is a key component that I believe enables 'Drive' to reach that modern cult-classic feel that I've heard so many talk about.

This movie is at it's best when we get long, pondering shots of Gosling analyzing each scenario in his head. This movie strives when it shows instead of tells. The glossy shots of car interiors at night, the brief moments of unmitigated violence our protagonist attempts to bury, and the soft hum of the city in the distance makes you feel just as involved in the story as much as it makes you feel like a helpless bystander. Ultimately, 'Drive' accomplishes its goal in telling a sleek and stylish modern romance story that directly and intentionally clashes with an ugly narrative that places our unwilling characters in the line of fire of the underbelly of LA. It is a story that is entertaining, but unfortunately leaves a little more to be desired by the time it reaches its conclusion. I rate this movie a 3/5 stars on letterboxd.

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Next Movie Tuesday: 'Paris, Texas' | Wim Wenders, 1984 - July 28th, 2026