Talking Movies

July 7, 2016

The Neon Demon

Nicolas Winding Refn returns with another artful garish provocation that elicited boos at Cannes. He must be doing something right.

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Fresh-faced teenager Jesse (Elle Fanning) arrives in LA with dreams of modelling. She impresses agency head Roberta (Christina Hendricks), even though her photos do not; so much for would-be boyfriend/photographer Dean (Karl Glusman) hitching his wagon to her rising star. Roberta pushes her towards legendary photographer Jack MacArthur (Des Harrington) who is immediately wowed by her innocent looks and shoots her. His instant interest is shared by make-up artist Ruby (Jena Malone), who introduces Jesse to her sharp-tongued model friends Gigi (Bella Heathcote) and Sarah (Abbey Lee). But when Alessandro Nivola’s designer is also entranced, leading to successive humiliations for Gigi and Sarah in favour of Jesse, their claws come out. And Jesse, after a trippy catwalk experience, finds herself isolated when events in the worst motel in Pasadena take a sinister turn courtesy of creepy manager Hank (Keanu Reeves).

Refn got a kicking for Only God Forgives that would’ve broken many directors, but, very impressively, The Neon Demon is made with supreme confidence, and with absolutely no apologies – even signed NWR as a statement of artistic singularity. Whereas Only God Forgives gestured towards total abstraction there is a semblance of story here, but, even though he collaborated with playwrights Mary Laws & Polly Stenham on dialogue, it’s in the ha’penny place to the visuals. And the visuals work because Refn knows Cliff Martinez can provide a synthesiser score of wide range that can interpret images: in particular Jesse’s catwalk encounter with a blue pyramid, water, and a red pyramid, which tips its hat to 2001’s Jupiter sequence, and seems to imply that Jesse has communed with the Platonic Ideal of beauty and is thereafter a different and blessed person.

Martinez’s score is quite haunting and beautiful in its ethereal approximation of the timbres of marimba and celeste, but it also embraces great Vangelis Blade Runner washes of synth, as well as juddering techno, contrapuntal melodies, and, for a climactic syncopated cue, almost wah-wah guitar effects. Reeves plays terrifically against type, and his enjoyment is mirrored by Refn mischievously cutting from his introduction to a huge white space where one character initiates another. The Rover cinematographer Natasha Braier observes the scantily-clad models with Kubrickian detachment, complementing a startling scene where Jesse appears faced with sexual assault but is treated as an objet d’art, not human but a personification of beauty. Early on, regarding lipstick names, Jesse is asked “Are you sex or are you food?” Refn seems to imply Jesse as embodiment of beauty can be anything, except a person.

This is more accessible than Only God Forgives, but there will still be walkouts, because this is unapologetically an NWR film: which means mesmeric pacing, semi-abstracted visuals, a foregrounding of music, and outré violence.

4/5

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January 18, 2016

2016: Fears

Filed under: Talking Movies — Fergal Casey @ 8:59 pm
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13 Hours: The Secret Soldiers of Benghazi

January 29th sees the release of a small (a mere $50 million dollar) personal movie by an auteur, truly un film de Michel Bay. Six military contractors (including The Office’s John Krasinski, 24’s James Badge Dale, and The Unit’s Max Martini) make a desperate last stand when a US consulate in Libya is attacked on the anniversary of 9/11. Chuck Hogan (The Town, The Strain), of all people, writes for Bay to direct; with the resulting Bayhem being memorably characterised by The Intercept as Night of the Living Dead meets The Green Berets.

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February 12th sees the release of the sequel nobody was particularly asking for… It’s been 14 since Zoolander. An eternity in cinematic comedy as the Frat Pack glory days have long since yielded to the School of Apatow; itself fading of late. Seinfeld has refused reunions noting that the concept of his show becomes depressing with aged characters, but Stiller apparently has no such qualms about airhead models Derek (Ben Stiller) and Hansel (Owen Wilson) being on the catwalk. Benedict Cumberbatch, Kristen Wiig and Penelope Cruz bring new energy, but an air of desperation/cynicism hangs over this project.

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Gods of Egypt

February 26th sees Bek (Brenton Thwaites) forced to align with Horus (Nikolaj Coster-Waldau) when the god of darkness Set (Gerard Butler) assumes control of Egypt in a truly stupid blockbuster. But not as stupid as the reception it can look forward to after Deadline’s Ross A. Lincoln wrote “based on the statuary and monuments that have survived, not to mention thousands of years of other cultures commenting on them, they definitely weren’t white people with flowing, curly blond locks, and their gods were definitely not Europeans.” Lincoln’s argument dynamites Idris Elba’s role in Thor, which is not permissible, so logically (sic) it’s now racist to not depict the Egyptian gods as Egyptian, but it’s also racist to depict the Norse gods as Norse. If the gods of Egypt ought to look Egyptian, who, that’s bankable, can play them? Amir Arison, Mozhan Marno, Sarah Shahi, and Cliff Curtis wouldn’t merit a $140 million budget. And casting them because (barring the Maori Curtis) they hail from nearer Egypt than Gerard Butler, but are not actually Egyptian, is itself racist. Does Alex (Dark City) Proyas, who hasn’t directed anything since 2009, really deserve this firestorm for just trying to work?

Hail, Caesar!

The Coens stop writing for money and return to directing on March 4th with a 1950s Hollywood back-lot comedy. A lighter effort than Barton Fink, this follows Josh Brolin’s fixer as he tries to negotiate the return of George Clooney’s kidnapped star from mysterious cabal ‘The Future’ with the help of fellow studio players Channing Tatum, Alden Ehrenreich, and Scarlett Johansson. The relentlessly mean-spirited Inside Llewyn Davis was a surprise aesthetic nadir after True Grit’s ebullience, so we can only hope the return of so many of their repertory players can galvanise the Coens to rediscover some warmth.

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Batman V Superman: Dawn of Justice

Zack Snyder gave us the neck-snap heard around the world in Man of Steel. On March 25th he continues his visionary misinterpretation of Superman, and can also ruin Batman, Wonder Woman, Lex Luthor, Alfred Pennyworth, and Doomsday. Ben Affleck and Jeremy Irons entice as Bruce and Alfred, and Affleck has undoubtedly got the script punched up by inserting his Argo scribe Chris Terrio into the mix, but Snyder is still directing. How Snyder ever got the keys to the DC cinematic kingdom is amazing, but when if he blows this he cripples The WB.

The Neon Demon

Keanu Reeves made a comeback in 2015 with John Wick and Knock Knock. But can he impart some of that momentum to Nicolas Winding Refn to help him recover from the unmerciful kicking he got for Only God Forgives? Refn is working on a third of Drive’s budget for this horror tale of Elle Fanning’s wannabe actress who moves to LA, to find her vitality drained by a coven led by Christina Hendricks. Details are very sparse, other than that it’s about ‘vicious beauty,’ but this could be intriguing, blood-spattered, gorgeous, and enigmatic, or a total fiasco…

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The Avengers 3 Captain America: Civil War

Anthony and Joe Russo, the directors who gave you the worst choreographed and edited fight scenes you’d ever seen in Captain America 2, return with …more of the same, because why bother doing it better when you’ll go see it anyway? May 6th sees Mark Millar’s comic-book event become a camouflaged Avengers movie as Robert Downey Jr and Chris Evans’ superheroes fall out over the fate of Sebastian Stan’s reformed Bucky. Expect incomprehensible fights, the occasional decent action sequence, wall to wall fake-looking CGI, and more characters than Game of Thrones meets LOST.

Snowden

The master of subtlety returns on May 12th as Oliver Stone continues his quest to make a good movie this century. His latest attempt is a biopic of NSA whistleblower Edward Snowden (Joseph Gordon-Levitt), whose distrust of the American government should be catnip to Stone’s sensibilities. Zachary Quinto is journalist Glenn Greenwald, Shailene Woodley is Snowden’s girlfriend, and supporting players include Timothy Olyphant, Nicolas Cage, and Melissa Leo. Expect a hagiography with stylistic brio, and no qualms about whether the next large building that blows up might be on Snowden for blowing the lid on how terrorists were monitored.

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X-Men: Apocalypse

Oscar Isaac is Apocalypse, the first mutant, worshipped for his godlike powers, who awakes in alt-1980 and turns Magneto (Michael Fassbender) to the dark side as one of his Four Horsemen alongside Psylocke (Olivia Munn), Storm (Alexandra Shipp), and Angel (Ben Hardy). James McAvoy loses his hair from the stress of being upstaged by the powers of Jean Grey (Sophie Turner) and the ever-increasing star-power of Jennifer Lawrence. Director Bryan Singer’s return to the X-fold in 2014 was a triumph, but rushing this out for May 27th invites disaster; can enough time really have been spent on scripting?

Warcraft

Duncan Jones completes the Christopher Nolan career path by moving from Moon to Source Code to Warcraft. June 10th sees Vikings main-man Travis Fimmel daub on blue face-paint as Anduin Lothar. The battle with the Orcs has an interesting cast including Ben Foster, Toby Kebbell, Paula Patton, Dominic Cooper, and the great character actors Clancy Brown and Callum Keith Rennie. But its greatest strength is also its greatest weakness. Has there ever been a truly great adaptation of a computer game to a movie? And if Warcraft’s a good movie that’s unfaithful to the game will gamers stay away?

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Finding Dory

June 17th sees another unnecessary unwanted sequel to a beloved early Zeroes film. Why exactly do we need a sequel to Finding Nemo? Besides it being a post-John Carter retreat into an animated safe space for director Andrew Stanton? Marlin (Albert Brooks) sets out to help forgetful Dory (Ellen DeGeneres) find her long-lost parents, who are voiced by Diane Keaton and Eugene Levy. Other voices include Ty Burrell as a beluga whale, Kaitlin Olson as Dory’s whale shark adopted sister, and Ed O’Neill as an ill-tempered octopus. Stanton is writing too, but can aquatic lightning really strike twice?

Star Trek Beyond

Star Trek marks its 50th anniversary with this reboot threequel on July 8th, but the recent trailer didn’t whet any appetites. Despite having Furious maestro Justin Lin in charge and Simon Pegg as the final writer on a script with 5 credited scribes the footage was solely notable for (a) Kirk’s bad hair (b) a vaguely Star Trek: Insurrection with gaudier colours vibe (c) forced attempts at humour. Star Trek Into Darkness was a frustrating exercise in creative cowardice, a flipped photocopy of Star Trek II. Let us hope this time originality has been actively sought out.

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Ghostbusters

July 15th sees… another reboot. Paul Feig couldn’t stow his ego and just direct Dan Aykroyd’s Ghostbusters 3 script, so… “REBOOT!”. Kate McKinnon and Kristen Wiig are great, but Feig wrote this with Katie Dippold (who penned his execrable ‘comedy’ The Heat) so it won’t be. Feig’s drivel about gender-swapping hides an obvious truth. The Ghostbusters were all male because Akyroyd and Ramis wrote for themselves, SNL pal Murray, and Eddie Murphy; when Murphy dropped out, Zeddmore’s part shrank as his jokes were redistributed. Feig’s Ghostbusters are all female to cynically reposition attacks on his creative bankruptcy as sexism.

Doctor Strange

November 4th sees Benedict Cumberbatch swoosh his cape as Stephen Strange, (That’s Dr. Strange to you!), an arrogant surgeon taught magick by Tilda Swinton’s Ancient One. Director Scott Derrickson is perhaps hoping to mash his resume of Sinister and The Day The Earth Stood Still, especially as Sinister co-writer C Robert Cargill has polished this. Mads Mikkelsen, Chiwetel Ejiofor, and Rachel McAdams co-star, but before we get excited, this is Marvel. Marvel took the outré world of comic-books and cinematically rendered it as predictable, conservative, self-aggrandising, boring tosh. How off the leash do you bet Derrickson will get?

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The Death and Life of John F. Donovan

Kit Harington is the titular movie star who is undone when Jessica Chastain’s gossip columnist reveals his correspondence with a young girl, and an unreasoning witch-hunt begins. And it’s the first movie written and directed by Xavier Dolan in English! So, why Fears not Hopes, you ask? Because Dolan in a BBC Radio 4 interview expressed nervousness that he didn’t instinctively understand English’s nuances the way he did with French, and because with big names (Susan Sarandon, Kathy Bates, Michael Gambon) comes pressure to tone down material and make a commercial breakthrough.

Rogue One: A Star Wars Story

Didn’t you always desperately want to know the back story of that throwaway line about how brave rebels died to smuggle out the plans for the Death Star? … Whaddya mean ‘No’?!! Do you have any idea how much money Disney has on the line here?? You damn well better develop an interest by December 16th when Oppenheimer of the Empire Mads Mikkelsen has a crisis of conscience and enlists the help of his smuggler daughter Felicity Jones. Disney paid 4 billion for the rights to Star Wars, they retrospectively own your childhood now.

February 3, 2015

2015: Fears

Filed under: Talking Movies — Fergal Casey @ 11:20 pm
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Jupiter Ascending

The Wachowskis return, oh joy, in 3-D, more joy, with a tale of a young woman (Mila Kunis) who discovers that she shares the same DNA as the Queen of the Universe, and goes on the run with a genetically engineered former soldier (Channing Tatum), oh, and he’s part wolf… The unloveable Eddie Redmayne is the villain, but the extremely loveable Tuppence Middleton is also in the cast, and, oddly, there’s a cameo from Terry Gilliam, whose work is said to be an influence on the movie. Alongside Star Wars, Greek mythology, and the comic-book Saga it seems…

 

Fifty Shades of Grey

Jamie Dornan is Christian Grey, Dakota Johnson is Bella Swan Anastasia Steele, Universal are terrible gamblers. Take one novel: which is 100pp of hilariously obvious Twilight homage leading to pornography for hundreds more and an unsatisfactory ending; a sensation because of the ability to secretly read it. Now hire art-house director Sam Taylor-Johnson to make an R-rated film focused on the romance, after 5 Twilight movies of said romance shtick; and force people to say out loud what film they’re seeing, or at least be seen going to it. Sit back, and watch this gamble fail.

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Blackhat

Michael Mann returns with his first film since 2009’s uninspired Public Enemies. Chris Hemsworth, now officially a god in Iceland again, plays a hacker who gets a free pass from jail to help Viola Davis’ FBI agent liaise with her Chinese counterpart (pop star Wang Leehom) following a devastating cyber-attack in China which led to a nuclear incident. Hemsworth is distracted in his mission by Lust, Caution’s Chen Lien, and, if you’ve read the vituperative reviews, an appalling script. Mann’s been on a losing streak for a while, and his hi-def video camera infatuation only doubles down on that.

 

In the Heart of the Sea

March sees director Ron Howard take on Moby Dick. Or rather, tell the true story that inspired Moby Dick, rather than try and out-do John Huston. Chris Hemsworth, Cillian Murphy, Ben Whishaw, and Brendan Gleeson are among the hapless crew of the whaling ship Essex out of New England that runs afoul of a curiously vindictive sperm whale in 1820. Martin Sheen starred in a rather good BBC version of this disaster its grisly aftermath at Christmas 2013. Who knows if Howard will match that, but he’ll definitely throw more CGI at the screen.

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Avengers: Age of Ultron

Joss Whedon takes off the Zak Penn training wheels and scripts this sequel to 2012’s hit solo. James Spader voices the titular evil AI, unleashed by Robert Downey Jr’s Iron Man when fiddling about in Samuel L Jackson’s Pandora’s Box of Shield secrets. The great Elizabeth Olsen is Scarlet Witch, and Aaron Johnson is Quicksilver, but I find it hard to work up any enthusiasm for another ticked box on the Marvel business plan. Why? CGI and Marvel empire-building fatigue, a lack of interest in most of the characters, and great weariness with Whedon’s predictable subversion.

 

Lost River

What is the difference between a homage and le rip-off? The French should know and they loudly booed Ryan Gosling’s directorial debut as little more than Nicolas Winding Refn and David Lynch meeting up for a whimsical night out. Gosling also wrote this tale of a boy who finds a town under the sea down a river, and has to be rescued by his mother. Matt Smith, Christina Hendricks, Saoirse Ronan, Eva Mendes, and Ben Mendelsohn are the actors roped in by Gosling to flesh out his magical realist vision of a hidden beauty lurking underneath decrepit Detroit.

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Far From the Madding Crowd
Bathsheba (Carey Mulligan), a wilful, flirtatious young woman unexpectedly inherits a large farm and becomes romantically involved with three widely divergent men: rich landowner William Boldwood (Michael Sheen), dashing Sgt. Troy (Tom Sturridge), and poor farmer Gabriel Oak (Matthias Schoenaerts). John Schlesinger’s 1967 film of Hardy’s classic novel is a formidable predecessor for this May release. This version from director Thomas Vinterberg (Festen, The Hunt), was co-scripted with David Nicholls of One Day fame; another man whose tendencies are not exactly of a sunny disposition. Can the promising young cast overcome Vinterberg’s most miserabilist tendencies?

 

Tomorrowland

Well this is a curio… Brad Bird directs George Clooney and Secret Circle star Britt Robertson in a script he co-wrote with Damon LOST Lindelof about a genius inventor and a parallel universe, or something. Nobody really seems to know what it’s about. But then given Lindelof’s resume even after we’ve watched it we probably won’t know what it’s about. Bird proved extremely capable with live-action in Mission: Impossible 4, but explicitly viewed the talky scenes as mere connective tissue between well-executed set-pieces; pairing him with ‘all questions, no answers’ man seems like a recipe for more puzzled head-scratching.

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Ant-Man

Ant-Man was in 2015: Hopes until director and co-writer Edgar Wright walked because Marvel shafted him after years of development. I was highly interested in seeing Paul Rudd’s burglar become a miniature super-hero who’s simpatico with ants after encountering mad scientist Michael Douglas and his hot daughter Evangeline Lilly; when it was from the madman who made Scott Pilgrim Vs the World. When this deservedly nonsensical take on a preposterous property is being helmed by Peyton Reed; whose only four features are Bring It On, Down With Love, The Break-Up, and Yes Man; my interest levels drop to zero.

 

Terminator: Genisys

Quietly brushing 2009’s Terminator: Salvation into the dustbin of history in July is this script by Laeta Kalogridis (Pathfinder, Night Watch) and Patrick Lussier (Drive Angry). Game of Thrones’ Alan Taylor directs, which presumably explains Emilia Clarke’s baffling casting as Jason Clarke’s mother. That’s going to take some quality Sarah Connor/John Connor timeline shuffling. And this is all about timelines. Arnie returns! Byung-Hun Lee is a T-1000! Courtney B Vance is Miles Dyson! YAY!!!!! Jai Courtney is Kyle Reese … BOOOOOO!!!!!!! Did we learn nothing from McG’s fiasco? We do not need another muscle-bound actor with zip charisma.

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Fantastic Four

August sees Josh Trank shoulder the unenviable task of rebooting the Fantastic Four after two amiable but forgettable movies. Trank impressed mightily with the disturbing found-footage super-yarn Chronicle, and scripted this effort with X-scribe Simon Kinberg and Jeremy Slater (The Lazarus Effect). The cast is interesting; Miles Teller as Reed Richards, Kate Mara as Sue Storm, Michael B Jordan as Johnny Storm, Jamie Bell as Ben Grimm, and Toby Kebbel as Dr Doom; but this has had a troubled production, and carries an albatross around its neck as it must bore us senseless with another bloody origin story.

 

The Man from UNCLE

August sees CIA agent Napoleon Solo (Henry Cavill) and KGB man Illya Kuryakin (Armie Hammer) on a mission to infiltrate a mysterious criminal organization during the height of the cold war. Steven Soderbergh nearly made this with George Clooney from a Scott Z Burns script. Instead we get Guy Ritchie and Sherlock Holmes scribe Lionel Wigram. Sigh. Hugh Grant plays Waverley, while the very talented female leads Alicia (Omnipresent) Vikander and Elizabeth Debicki will highlight the lack of suavity and comic timing of the male leads; particularly troublesome given the show was dry tongue-in-cheek super-spy nonsense.

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Black Mass

Poor old Johnny Depp is having something of an existential crisis at the moment. People moan and complain when he does his quirky thing (Mortdecai). But when he doesn’t do his quirky thing people moan and complain that he’s dull (Transcendence). September sees him team up with Benedict Cumberbatch and Joel Edgerton for Scott Cooper’s 1980s period thriller about the FBI’s real-life alliance with Boston crime boss Whitey Bulger, exploring how  the bureau’s original good intention of running an informant was derailed by Bulger’s clever connivance, ending up as a sort of state-sanctioned take-over of the criminal underworld.

 

The Martian

Ridley Scott just can’t stop making movies lately, but he’s having a considerably harder time making good movies. November sees the release of The Martian starring Matt Damon as an astronaut stranded on Mars after being presumed dead in a ferocious storm. The supporting cast includes Jeff Daniels, Kristen Wiig, Chiwetel Ejiofor, Sean Bean, Michael Pena, Sebastian Shaw, Kate Mara, and the regrettably inevitable Jessica Chastain. Damon must try to send an SOS forcing NASA to figure out how on earth to go back and rescue him. Drew Goddard wrote the script. There’s the reason this might work.

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The Hateful Eight

November sees the return of Quentin Tarantino. The writer/director who never grew up follows his rambling gore-fest Django Unchained with another Western. But this one is shot in Ultra Panavision 70, despite being set indoors, and has more existential aspirations. Yeah… Samuel L Jackson, Kurt Russell, Tim Roth, Walton Goggins, and Zoe Bell return to the fold for this tale of bounty hunters holed up during a blizzard, while newcomers to Quentinland include Bruce Dern, Demian Bichir, and Jennifer Jason Leigh. Nobody’s told Tarantino to stop indulging himself in years so expect endless speechifying and outrageous violence.

August 5, 2014

God’s Pocket

John Slattery, aka Mad Men’s existentialist hero Roger Sterling, makes his directorial debut with an only intermittently successful black comedy.

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God’s Pocket, New York City is a close-knit working-class community where everyone is one step away from a mobster, even the elderly florist. Blow-in Mickey Scarpato (Philip Seymour Hoffman) helps out fellow butcher Arthur ‘Bird’ Capezio (John Turturro) in stealing some frozen meat to help pay off Bird’s 20k debt to local kingpin Sal Cappi (Domenick Lombardozzi). However, marriage to the lovely Jeanie (Christina Hendricks) comes at the price of Mickey being lumbered with her crazy son Leon (Caleb Landry-Jones). When Leon dies in a ‘workplace accident’, Jeanie insists that Mickey investigate who killed him, undertaker Smilin’ Jack Moran (Eddie Marsan) refuses to bury him unless he gets 5k in cash up-front, and a bad decision on horse-racing with the money from a whip-around puts Mickey on thin ice when celebrated newspaper columnist Richard Shelburn (Richard Jenkins) starts courting Jeanie.

God’s Pocket is a period film that doesn’t bother to tell you that it’s a period film. Apparently it’s set in 1978. The only way you’d know that it’s not set right now is that everyone physically reads and reveres newspaper columnist Shelburn. But even in 1978 it plays as pure fantasy that Sophia Takal’s attractive college journalism major would sleep with Shelburn so that she could watch as he writes his column. Director Slattery co-wrote this adaptation of Pete (The Paperboy) Dexter’s novel, but its tone is deeply uncertain. There is an eye-gouging of Mountain & Viper calibre, and yet it leads directly to a scene of deliriously deadpan black comedy; whose laughs feel gimmicky because this film is not light enough on its feet or dry enough to truly be a black comedy. Instead it’s half a drama.

The best example of how black comedy is deflated by a striving for bogus dramatic weightiness is a scene where Leon’s dead body is accidentally hijacked. Slattery emulates Spielberg’s wildly misguided Munich finale, with a juxtaposition of Mickey being cuckolded and Mickey falling and failing in his attempt to redeem himself. My interest turned to how Slattery had thrown a dragnet over TV bit-players for his casting (the guy who shot Bell in Elementary, the psychiatrist from Bionic Woman, the S&M cop from Bored to Death). And it has to be regretfully noted that Landry-Jones follows his awful, mannered turn in Byzantium with a performance so deranged that you can’t believe Leon would ever be hired anywhere for the simplest job; he is simply the character from an Agatha Christie novel who repulses and alienates everyone before getting bumped off.

God’s Pocket sees Hoffman and Turturro do their best with a confused script, but it’s hard to know what exactly Slattery was trying to do – make a rambunctious black comedy or a gritty drama?

2.5/5

September 21, 2011

Drive

Ryan Gosling is an enigmatic part-time getaway driver who falls foul of LA gangsters in this misfiring existential thriller.

Drive is a film of two parts, the first part is rather good, and the second part is quite troubling. We’re introduced to Gosling’s unnamed driver in a great, great opening. Rumbling beats (that Fincher’s probably already bought the rights to) underscore a getaway of sublime skill and suavity. Those beats give way to a synthtastic 1980s homage soundtrack as the film slows to an enigmatic and brilliant crawl as it fleshes out Gosling’s life. Breaking Bad star Bryan Cranston is Gosling’s mentor, a mechanic and film stunt co-ordinator crippled by men close to Ron Perlman’s savage Jewish mobster Nino, who now dreams of getting his protege to put his driving skills to more public use in stock-car. Albert Brooks is the ‘nice’ mobster who’ll fund their team. This move to normality is mirrored by Gosling’s growing friendship with neighbour Carey Mulligan, as he becomes a surrogate father to her young son.

This humanising of the taciturn Gosling is beautifully photographed and reminiscent of Fish Tank in its finding of pastoral in an urban landscape. Mulligan is an empathetic presence while Brooks excels at using his nice-guy persona to complicate our attitudes to his mobster. The introduction of the plot, rather than turning this film into 1978’s sublime The Driver, merely scuppers things. The Obstacle Carey’s husband returns from jail owing protection money so our hero decides to help him and a cameoing Christina Hendricks out on a low-risk heist, which goes disastrously wrong. Brooks’ in-camera mission statement, “I used to produce movies in the 80s. Action, arty stuff. The critics liked them, called them European. I thought they were shit”, then kicks in. Director Nicolas Winding Refn uses music, a car-crash, and surf rolling into a deserted beach at night to incredibly foreboding effect in staging one murder, but mostly his use of violence is both unnecessary and excessive.

Do you want to see a woman’s head get blown apart by a shotgun blast in slow motion, a man have his hand smashed repeatedly with a hammer, a man have a fork thrust in his eyeball to distract him while his assailant searches for a cleaver to plunge repeatedly into his neck and chest, a man have his arm slit open by a cut-throat razor, or a man have his head kicked in until he’s quite dead and then kicked some more until bone-dust rises up into the camera? Well if you don’t then you should leave half-way thru Drive. Gosling is charismatic in his Eastwoodian role, and you can see why he personally chose Refn as director, but this is less an existentialist thriller and more just humourless grindhouse masquerading as arthouse.

If you loved The Driver, you might like half of Drive

2/5

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