This homage to 70's or 80's style movie making with the neon pink opening credits and Ryan Gosling as the hero left me disoriented for a moment, trying to adjust to a whole new aesthetic where Ryan Gosling was a action hero, pink neon was acceptable for a macho movie and the dark ,slow pace was in store, rather than the quick, in your face, move or die movies that we have today.
Ryan Gosling is a getaway driver, stunt driver, mechanic and loner. Shown beautifully in that order without three complete sentences being spoken. Carey Mulligan is Irene, his neighbour, mother of Benecio and wife of Standard, currently in jail. Again shown in that order with minimum fuss and maximum effect. They start spending some time together and soon the driver is part of the little family. Shannon (Bryan Cranston) is the father figure mechanic/manager who has big plans for the driver. Borrowing money from Bernie (Albert Brooks) and partner Nino (Ron Perlman) to fund a car to race with the driver. The bluish days and almost sepia nights pass and the characters build up slowly. Then a small conflict appears, the husband returns from prison. Loving and repentant. We wonder where these beautifully, slowly carved characters are sliding down to. Sliding down they are, the mood of premonition is strong. Each shot is like a story in itself. If I have used the word beautiful too much, it's too less. The husband is beaten up by some goons to whom he owns money and now think they own him. They want him to rob a pawn shop or else...Driver helps because he knows the violence is going to spill to the mother and child. Whatever build up the characters had, shatters, yet we want more. The film progresses in an unpredictable orchestra of silence and violence. Foreplay, but with S & M overtones, the masochistic audience opens up with the smooth caresses, the silences and the thrill of repressed aggression then BAM! Blood and brains splatter around to animal screams, it slaps us in the face, we turn out of breathe, yet we want more. And each time we think the climax is approaching, the veil of aggressive silence falls back again. Albert Brooks is brilliant, Christina Hendricks in a small yet memorable role (I'm partial to her curves, mostly hidden here) Carey Mulligan does a competent job, the kid is cute and not irritatingly so, the only down side being Ryan Gosling who looks slightly uncomfortable, but we know is at his very best.
9/10
Ryan Gosling is a getaway driver, stunt driver, mechanic and loner. Shown beautifully in that order without three complete sentences being spoken. Carey Mulligan is Irene, his neighbour, mother of Benecio and wife of Standard, currently in jail. Again shown in that order with minimum fuss and maximum effect. They start spending some time together and soon the driver is part of the little family. Shannon (Bryan Cranston) is the father figure mechanic/manager who has big plans for the driver. Borrowing money from Bernie (Albert Brooks) and partner Nino (Ron Perlman) to fund a car to race with the driver. The bluish days and almost sepia nights pass and the characters build up slowly. Then a small conflict appears, the husband returns from prison. Loving and repentant. We wonder where these beautifully, slowly carved characters are sliding down to. Sliding down they are, the mood of premonition is strong. Each shot is like a story in itself. If I have used the word beautiful too much, it's too less. The husband is beaten up by some goons to whom he owns money and now think they own him. They want him to rob a pawn shop or else...Driver helps because he knows the violence is going to spill to the mother and child. Whatever build up the characters had, shatters, yet we want more. The film progresses in an unpredictable orchestra of silence and violence. Foreplay, but with S & M overtones, the masochistic audience opens up with the smooth caresses, the silences and the thrill of repressed aggression then BAM! Blood and brains splatter around to animal screams, it slaps us in the face, we turn out of breathe, yet we want more. And each time we think the climax is approaching, the veil of aggressive silence falls back again. Albert Brooks is brilliant, Christina Hendricks in a small yet memorable role (I'm partial to her curves, mostly hidden here) Carey Mulligan does a competent job, the kid is cute and not irritatingly so, the only down side being Ryan Gosling who looks slightly uncomfortable, but we know is at his very best.
9/10
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