Drive is a film I was excited for the moment I heard about it. Ryan Gosling – who is reaching Must Watch Anything He’s In territory – stars alongside Carey Mulligan, with Breaking Bad’s Bryan Cranston, and the great Albert Brooks in supporting roles. The film doesn’t waste any time setting up the premise and introducing you to Ryan Gosling’s character, simply known as the Driver, or the Kid. We never find out his name, and it is all the more fitting that we don’t, much like in Fight Club. The Kid is a stunt driver for the movies when the sun shines, and a getaway driver by the moonlight. Drive’s opening scene involves the latter, and you immediately find out how calm, calculated, and seemingly composed The Driver is, no matter how intense the situation at hand may be. He conducts his business exactly as he tells his clients he will, and is talented enough at it that he seems more interested in the LA Clippers game that he has on his radio, than he is with the current task at hand. We aren’t privy to any history about the Kid, and I think it’s better that way. They set the movie up, we find out what he does and how well he does it, and then the story truly begins.

After his initial moonlighting job, he heads to his apartment, where we are introduced to the absolutely stunning Carey Mulligan. She portrays her characters with such ease and skill, that it’s impossible not to enjoy her every moment she’s on the screen. It is no different in Drive. Her introduction is equipped with a slow motion shot, and it’s easy to see why. Carey, or Irene, and the Driver are made aware of each other on the elevator both on their way up to their apartments. Hers is just down the hall from his. Their exchanges and dialogue throughout the film are short, concise and perfect, and their meeting on the elevator is no different. They say almost nothing, but they both clearly note the other and take in everything they can in the few seconds they have. It’s a nice introduction to the dynamic between both characters, which is one of the most, if not THE most, engaging and lasting aspect of the film. Gosling and Mulligan are flawless together and it is as though they have been acting with each other since they both began. In fact, all the main characters in Drive have a great chemistry, which is very much a credit to the director, Nicolas Winding Refn. He really lets the movie breath. He never tries to cram too much into any scene. He instead gives us precise, creative shots, and lets the actors and the scene itself unfold. There is no filler here, as every scene is exactly as it should be, and you never get a sense that the film drags or is wearing out its welcome. It is very rare in Hollywood that someone makes a dramatic thriller that isn’t filled with explosions, overly dramatic acting, poor writing, and the philosophy that excess, and More More More is somehow better. Drive is the anti-action film, as it goes about doing its thing in almost the complete opposite way of the norm.

The always talented Bryan Cranston plays Shannon. He is the Driver’s boss (and the one that calls him The Kid) and he owns an auto repair garage. He hired the kid on the spot the day he drifted into town five years or so previously. He’s been his agent and mentor so to speak, ever since. He hires him out to film companies, he does stunt work for them, Shannon gets half, and the Kid never thinks twice or bats an eye about it. He is so quiet and soft-spoken, but there is always that glimmer of danger about him just under the surface, enough to where we can catch a glimpse of it, but have no idea what sort of event or feeling would have to occur to bring it out from the depths of his inner turmoil. There is obviously a lot of layers and darkness to this kid, and we never find out why. It is the most intriguing, exciting thing about him.

Once the main characters are introduced, we find out Shannon wants to start a business venture into the world of racing. The Driver would of course be his star, or rather his Golden Ticket to riches and success, which seems to be Shannon’s motive for everything he does. He’s a schemer and a bullshitter, but we never get a sense that he’s a bad person. He has a bit of fatherly instinct when it comes to the Kid, and although he doesn’t exactly do what is best for him at every turn, he never seems to want anything but the best for him – as long as it increases his own bank account. To attempt success in the racing world, you of course need a car. That’s where Albert Brooks’ character comes into play. He used to produce actions movies in the 80s – a definite nod to a lot of this movies’ inspiration – and seems to be somewhat of a crime lord now. He loans Shannon the money, he meets the Kid (in a great scene where the tension strings really begin to tighten and the plot takes off), and the dangerous thriller element enters into play. I need to specifically mention the score of this film, brought to us by Cliff Martinez. It accentuates every scene in the film, especially as the tension builds. The music is cold, mostly electronic, and is very much alive (or dead rather) with the spirit of the 80s. Drive really has the feel of an 80s-era film at times, but in no way is that a bad thing. It takes out all the cheese and fluff a lot of action films from that day possessed, while retaining the almost mechanical solace that can be found in many of them. The score was vital to the vibe and the mood of the film in every way.

There are two elements of this film that really stand out to me. One is the way the scenes with Irene and the Driver are filmed. The lighting and the shots are almost euphoric, as if presenting this world of golden possibilities for the Driver where he can have this fantastic woman and her son, who he has an immediate and telling connection with. He seems to recognize what is pure, and perhaps even experiences a bit of nostalgia for a time when he might have been the same. That time is clearly far behind him, and it has been replaced with a stark, intensely protective nature, for the child and for Irene. Those are seemingly the only things that could break the complete control and restraint he exudes at every moment, be it serving as a getaway driver, or even the way he removes his driving gloves. The other element is what sets this movie apart from your average thriller. Much like Albert Brooks’ apparent preference and usage of sharp blades, this movie cuts with such a cold precision. The violence is scathing and alarming. It’s quick and abrupt and is completely unsettling. It is really a testament to the director’s talent that the movie transitions between these two elements with such ease. One moment Irene and the Driver take a stroll on the highways and byways of Los Angeles, and have such a beautiful moment together where everything is right in the world and there is no need for even a word of dialogue. Other moments, everything is flipped, heads are blown to bits, skin breaks as easily as the child’s innocence, and unavoidable chaos is rampant. I can’t express enough how engaging this film is from start to finish. There is a clear plot structure here, from the buildup to the climax, and it makes it all the more enjoyable to watch. Every moment is pure cinematic bliss; from the Driver’s serene solo strolls through the city at night, to the unquestionably romantic allure of him and Irene’s relationship, to the devastating violence that is experienced by them all. This is a film I can see standing the test of time, and remaining fresh in my mind and my heart for years to come.

Directing: A+. Under the direction of just about anybody else, this film would not have been executed like it was. Flawless direction.

Acting: A. Everyone acted with such skill and restraint. Gosling, Mulligan and Brooks all deserve Oscar consideration, though they were all snubbed.

Score: A+. The mood music and specific song selections could not have been more fitting for each scene they were attached to. It is probably a bigger Oscar snub than the actors and director that did not get a nomination.

Dialogue\Writing: A. It gets an A more for the intentional lack of dialogue than the actual dialogue itself. Sometimes less is more. Especially if the actors and director know how to pull that off.

Final Grade: A. I haven’t seen a film this memorable and impactful, with such a high rewatchability factor, in a long time. This is the Best Film of 2011.