Ten years later, action movies still haven’t learned from Drive
Yesterday marked the tenth anniversary since the cinematic debut of Drive, a film centered around Nicolas Winding Refn’s high-octane car that probably doesn’t get the credit it deserves for pulling Ryan Gosling out of his rut ââas as a romantic leader and have established him as a serious, dramatic actor. Without Drive, we wouldn’t have Blade Runner 2049 – or at least we wouldn’t have Ryan Gosling in it. Looking back on the film’s legacy, that’s about all you can say about it. It helped Gosling’s career. The end. But it should have been a turning point for a genre that is still out of date a decade later. The driving was a breath of fresh air, but we all let it pass. Ten years later, it’s worth giving it some credit.
Drive was a film about a man – known only as Driver – whose day-to-day job is to do stunts for Hollywood blockbusters. At night, he’s an escape driver for hire, helping bank robbers and crooks escape the police at high speed, all the while managing to blend in with the audience and let everyone scatter safely. . It has an astonishing 7.8 on IMDb and an identical 78 on Metacritic, although reviews tend to be harsher, having the same score is good news on the critical front. This characterizes the problem with Drive – a lot of people cared more about what they couldn’t see than what they were doing.
A critical score of 78 is still not universal approval, but the reviews from the public are much more interesting. It’s not like playing with Drive gets bombarded with ones and zeros for opening in Odeon and not Cineworld or for including a woman – the scores are pulled down by five, six and seven, decrying the movie like “dull”, “boring”, and “slow”. It’s a car chases movie where people are beaten to death with hammers. It’s not boring. But it’s not a typical action movie either, and that’s the problem – but the problem isn’t with Drive to do something different, it’s with action movies to make the movie. same thing over and over again.
He was getting older when Drive came out a decade ago, and now he really should be dead. Dwayne Johnson starred in two different films about the destruction of a skyscraper in 2018, having played three years earlier in San Andreas, where a bunch of buildings are destroyed. These are reluctant male heroes, often with family issues, who are forced into action, saving the day with just violence while joking and walking away from explosions without looking back. This is the plot of Die Hard, which came out in 1988. Why are we still doing it?
There are action movies that try to be different. Free Guy has an innovative concept and has seen huge success this year, while Gunpowder Milkshake shakes the formula up pretty well. One of the most successful action films of the decade, John Wick, also withstands heavy VFX blasts, opting for tightly coordinated stunts and intricately choreographed fight scenes.
Most of the time it’s superhero festivals, Fast & Furious, or generic actor # 3 in Explosions Are Cool. Clearly people like it. I can’t understand why. But they do, and these people wanted Drive to be that kind of movie. If more people had understood what it was really meant to be, perhaps it would be remembered more fondly today.
In a landscape where so many action movies are loud, Drive was silent. While he rejects the typical pattern of higher and higher stakes with bigger and bigger booms, there is surprisingly little dialogue. Most of the scenes are two characters who just talk, but they don’t really talk. They look at each other. They think. Look, I know I feel like I’m writing this wearing tweed and patting a clay pipe, but if you put two clumsy, withdrawn and nervous people together, here’s the result. The scenes in Drive are incredibly real, as they feel like an attempt to capture that moment of shared silence between two people who don’t really know how to communicate what they are feeling. It doesn’t feel like, like so many action movies, it was written to make you laugh, or to have a zinger that might one day end up on a shitty t-shirt.
We haven’t even started driving yet. It’s not really something other movies can learn from – it’s an incredibly car-centric movie – but given the number of legendary car chases in the movie archive, Drive may have done something completely different. of each of them is a huge credit to his creativity.
It opens with a 12-minute long driving sequence with virtually no dialogue. I understand that, added to what I just said about the characters who talk without speaking, seems to justify all of this “it’s boring” criticism, but how many action movies can you think of that have the stones for it? say ‘Yeah, do you like car chases? Here’s 12 minutes from a. Shut up’ – he trusts his audience, and that same audience bought tickets expecting to have their hand while a megahunk was holding his hand and showing bright flames of VFX.
As the vaporwave beats escape the car stereo, the driver’s leather-wrapped hands effortlessly glide the getaway vehicle down impossibly narrow lanes, tumbling down the asphalt, skidding through tight bends and eventually slipping silently. in a parking lot, the police puzzled, the job done. Drive doesn’t jump on the action – it’s clearly still an action movie, no matter how unusual – but it understands how to tell a story at a pace and with layers much better than the generic blockbusters whose genre is. still plagued today. Ten years later, he deserves a second chance.
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