Drive

Drive is the best movie I've seen in theaters since True Grit. There's probably some deep existential meaning to it all, but I just enjoyed it as a stylish, superbly crafted action film.

The Driver (Ryan Gosling) is a garage mechanic and part-time stunt man who serves as the getaway driver for some small-time hoods. Shortly thereafter, his boss Shannon (Bryan Cranston) gets him mixed up with film producer/crime boss Bernie (Albert Brooks), who wants to sponsor him as a stock car driver. The plot thickens when the Driver gets involved with his neighbor Irene (Carey Mulligan), whose husband Standard (Oscar Isaac) was just released from prison. To held Standard escape a loan shark's wrath, Driver agrees to take part in a $1 million heist, which lands him in deep trouble with Bernie and his underboss Izzi (Ron Perlman).

Drive is a first-class production all around. Nicholas Wending Refn makes a unique-looking film, from the moody urban mis-en-scene to the expressive editing scheme, with its slow-burn dissolves and non-linear sequencing. Refn stages impressive set pieces, especially the curtain-raising getaway drive and an exciting chase scene halfway through, and some unexpectedly graphic violence gives the action a real kick. Occasional artistic ostentation - a groan-inducing scene where a bemasked Driver walks slow-motion into a carefully framed window comes to mind - does not detract from Refn's superb direction.

What really sets Drive above its peers, however, is Hossein Amini's script. Elliptical in plot and character motivations, it smartly transcends cliche by building on familiar material. The well-drawn ensemble cast helps immensely: the Driver-Irene romance is sweet and avoids a cliched love triangle. Characters are largely drawn by relationships: Irene's affection for her husband and son and attraction to the Driver; Bernie and Izzi's tense partnership; Shannon's pathetic toadying. A leisurely pace immerses the viewer in the story, a welcome change from fast-cutting shakycam blockbusters. The climax feels a bit rushed but the ambiguous ending is a perfect coda.

Ryan Gosling gives a knockout performance. In Gosling's hands, the Driver becomes a fascinating protagonist, a deconstruction of the standard Hollywood action hero. He's likeable enough in his early scenes with Irene, but his effortless transition into a vengeful murderer is chilling. Gosling's controlled, monosyllabic performance makes both sides of his character credible: a character so emotionless and nonexpressive could be hiding anything. It's been a big year for Gosling, and this film should catapult him into the top tier of Hollywood stardom.

Gosling is backed by an interesting supporting cast. Albert Brooks steals the show as the psycho crime boss with a knife fetish, quite a turnabout from his usual comedy roles. Carey Mulligan (Public Enemies) is sweet and quietly vulnerable. Oscar Isaac (Robin Hood) handles a difficult role with sensitivity: he avoids the temptation to make Standard a cranky cuckold or a sad sack. TV favorites Brian Cranston (Breaking Bad), Ron Perlman (Sons of Anarchy) and Christina Hendricks (Mad Men) feature in key supporting roles.

Drive is an excellent film all around. If nothing else, this and The Debt prove that an action movie doesn't need lots of CGI robots or explosions to be fun.