Most of the films in Ridley Scott’s filmography are fairly well known, but there are a few that are glossed over for whatever reason. For this film, the fact that it didn’t even make its money back at the box office is the likely reason, but it still garnered very positive reviews from critics. This is indeed a film of special, exceptional quality. Someone to Watch Over Me is not your typical Ridley Scott film, in most part. It’s story is definitely a cop thriller with a great urban atmosphere, but primarily, this is a romantic film done with great, beautiful artistic flare.
A stunning New York socialite and a down-to-earth city cop are caught in a deadly web of illicit passion and heart-stopping suspense. Newly-appointed detective Mike Keegan (Tom Berenger) finds his life turned upside down when he’s assigned to protect Claire Gregory (Mimi Rogers), the beautiful eyewitness to a brutal murder. Lured into danger and the dizzying heights of Gregory’s glamorous lifestyle, Keegan struggles to walk the line between protection and obsession – while trying to stay one step ahead of the psychotic killer Joey Venza (Andreas Katsulas), and not allow his happy marriage to fall apart over his affair with Claire.
I really like the vibe of this movie. It does have a very romanticized artistry to it, but with the moody subtlety that Scott is a master at. Oddly, while watching this, I got a very similar feeling as I got watching the John Badham romanticized version of Dracula, starring Frank Langella. It’s that foggy, subtle romantic visual quality with its greens and ambers which really struck me that same way. Someone to Watch Over Me is a finely crafted and gradually paced work of art that smartly blends the seductive beauty with the dangerous crime elements. By the trailer, you’d likely expect something a little more thrilling and exciting, but even then, this film easily roped me in. This is surely due to the great casting and excellent acting.
Michael Keegan is not the usual kind of movie cop. He’s surely streetwise, but he feels a little green and out of his element. Having just been promoted to Detective, he doesn’t have the consummate manner of those around him, and coming from Queens, he’s not accustomed to the high life sophistication of Claire’s world. So, he’s a bit of a blue collar style easy going guy, and Tom Berenger does a stellar job in this role. He’s extremely likable and fun loving early on, and progresses into a more serious, emotionally complex character as events unfold. You can see that Mike is very happy with his family, but as he gets deeper involved with Claire, everything begins to be torn apart within him. Berenger has great and distinctly different chemistries with Mimi Rogers and Lorraine Bracco, who portrays Michael’s wife Ellie Keegan. Both relationships have their own touching qualities, and work equally as beautifully. Ellie perfectly reflects the man he is, but Claire gives him something fresh and seductive. It’s an odd dynamic that you can feel so much for Mike and Claire, knowing they have something unique together, but also, view Mike as the bad guy opposite Ellie. That’s really a testament to Berenger’s talent. He makes Mike a very down to Earth guy with flaws, but never comes off as a reprehensible adulterer, just a man of sympathetic conflicts of the heart.
I was very pleased with what Mimi Rogers accomplishes in this role. The few moments where Claire is confronted by Venza are intensely fearful, and Rogers is greatly convincing. However, the majority of the film is focused on Mike and Claire becoming closer and more intimate. She proves to be a gorgeously romantic woman who is not a seductress. There’s nothing lurid about these two becoming involved. There is a genuine endearing attraction there that is quite touching, and the building of a chemistry and attraction with Claire is done quite subtly. She is charming, elegant, and vulnerable, but still exerts confidence. There’s a fine line between where she feels safe and self-assured and feeling very frightened that Rogers handles with delicate balance.
Through all this, you honestly feel for Ellie a great deal because she’s done nothing wrong to deserve this betrayal of her love. Lorraine Bracco is wonderful showing the agonizing pain of Ellie. She loves Mike so dearly, and that pours out so richly once she is scorned. This is really an exceptional performance as we see a full spectrum of emotion from Bracco from the loving and down to Earth woman to the deeply hurt wife and even beyond that in the film’s climax to utterly frightened to death. While the film is heavy on the Mike-Claire relationship, Bracco does such a strong job to keep Ellie’s end of the film relevant and emotionally impactful. By the end, that is the crux of the film’s resolution.
And I really adore Andreas Katsulas. He was taken from us far too soon. Many would know him as the one-armed man in The Fugitive, but my heart with him lies with the science fiction series Babylon 5. Here, his role is full-on in intimidating heavy mode. His screentime is fairly restrained, but his presence is almost always felt. That presence is very effective right from his first few minutes of screentime all the way through to the taut, thrilling climax. Katsulas takes that great talent of his and compounds it into a lethally threatening performance. Like with everything else here, the key word is definitely “subtlety.” Ridley Scott has such a great handle on tone with his visuals and actors that it is no surprise that everything is just pitch perfect throughout this cast. Of course, I couldn’t forget to mention the late and charming Jerry Orbach as the solid Lieutenant Garber. Orbach is always a bright pleasure to see in anything he ever appeared in.
It also put a smile on my face when Michael Kamen’s credit came on screen as the composer. I really, dearly love his work. There was always a real elegance and sophistication he brought to his scores, and Someone to Watch Over Me definitely gave him the opportunity to flesh out some lush, romantic cues. There’s the obligatory saxophone parts, but it’s done so very beautifully. It really is a lovely tapestry of romanticism that he weaves throughout this film while never remotely approaching over the top melodrama. He’s aided a little by a smooth jazz style arrangement of the title song by Sting, and some fine music tracks from Steve Winwood and Fine Young Cannibals early on. The work Kamen does with the tenser, more thrilling scenes is very effective and taut. This is the perfect score for this movie accentuating every subtlety with careful craftsmanship.
Also, it seems that no matter what cinematographer Ridley Scott works with, his visual style always comes through brilliantly. You could turn this movie on, not knowing anything about it, and know it is a Ridley Scott movie just by the rich atmospheric noir look of it. Someone to Watch Over Me is absolutely gorgeous re-crafting the looks of Alien or Blade Runner into a romantically effective package. The scenes early on in the night club and art gallery are brilliant, perfect examples of Scott’s signature style. Later on, inside Claire’s upscale apartment, the overall look is very seductive with soft, dim amber lighting. As usual, Scott uses very deep blacks and smoky, shadowy visuals to create a mysterious atmosphere, and even on the streets of New York, that works so stunningly well. If for nothing else, Scott is one of my favorite directors based on his gorgeous visual neo noir style.
Beyond all of the stunning aesthetics, the story played out in both the seductive romanticism and the dangerous crime thriller are perfectly interwoven. I found the balance just right for the film’s intended emotional direction. I would definitely imagine a film like this today being forced to be packed with a lot more action and excitement instead of developing the romance and subtle suspense. Thankfully, this was made in a time when someone like Ridley Scott, whose last couple of films had not done well at the box office, was able to make the movie he wanted to make. He does a fantastic job with Howard Franklin’s screenplay just enveloping it entirely in his articulate, detail oriented sensibilities and wonderfully inspired visual style. Yet, the visual awe is not used to mask any lack of substance, but to enhance the strengths of it all.
I really did enjoy Someone to Watch Over Me. If you enjoy a classic thriller with a twist of romance, which the film’s tagline boasts, you will certainly find some satisfaction here. Ridley Scott directs this film with class and a focus on the smooth moody atmosphere and gradual development of its characters. The cast is absolutely top notch featuring substantive and respectable work from everyone involved. This film is actually a very clear precursor to Scott’s next film, Black Rain, which was an excellent full-on thriller, but still with a lot of that romanticized atmosphere of danger. If you’re looking for the exciting flipside to this seductive film, Black Rain is absolutely that film. Just forego watching the trailer. It’s a little on the spoilery side. Anyway, Someone to Watch Over Me is a very beautifully crafted and executed film that I really do highly endorse.
So, after watching The Exterminator this morning, I chose to follow that up with a 1988 entry into James Glickenhaus’ filmography starring Peter Weller and Sam Elliott. Backed by Universal Pictures, this film is a warp speed jump ahead in polished filmmaking, tight storytelling, and an entertaining picture with lots of energizing action. Yet, it has plenty of substance and strong characters realized by great actors. Shakedown was a fun ride that I would like to share with you now.
When a local drug dealer shoots a dishonest cop in self-defense, lawyer Roland Dalton (Peter Weller) and renegade undercover cop Richie Marks (Sam Elliott) join forces to clear him. But when their investigation leads them into a maze of greed and corruption, they learn that in a town where everything is for sale, anything can happen. Amidst this, Dalton realizes the prosecutor in this, his last case, is a former love interest, the smart and sexy Susan Cantrell (Patricia Charbonneau). Throughout the trial Roland rekindles this former affair with Susan unbeknown to his fiancée Gail (Blanche Baker). All of this twists and turns around Dalton and Marks as they battle through the web of corrupt cops who’d sooner see them dead at every turn.
This is a top notch movie all the way through. We’re given a story that is sharply put together that always holds your attention, and keeps something moving forward at a tight rhythm at all times. There are enough interconnected threads to allow the film to do that, but not remotely so many as to complicate things. The trial of the drug dealer ties into the corrupt dealings of these New York cops, and with Dalton being the central focus of this plot, his own personal relationships branch out from that. So, there’s always something unfolding and weaving its way into the momentum of the story to keep that energy and pace up. Yet, even though the film has a polished style, it still delves into that seedy underbelly of New York that James Glickenhaus enjoyed spotlighting in his films. So, we get something sharp, sleek, and immensely entertaining while still having that underlining presence of the sleazier side of things. Glickenhaus hits the mainstream with great success fueled by a very well written script, and a spectacular cast of talent at his disposal.
Peter Weller is just amazing in this movie. As Roland Dalton, he’s a very charismatic and lively guy who loves his Jimi Hendrix and has plenty of enjoyable flare. He’s a very relatable and intelligent character portrayed by an actor who exemplifies those qualities. Weller works the courtroom scenes with compelling energy and sharp wit. He also carries strong emotional and dramatic weight throughout the film. The building romantic relationship with Susan is touchingly handled with beautiful chemistry. It help creates a full, well-rounded character that has various aspects to his life that all tie into the threads of the plot. Weller really does have the meat of screentime, and thus, properly gets top billing. Weller’s character never shies away from action or danger in his pursuit of truth. He regularly gets himself into dangerous scenarios, but is able to handle himself competently. Weller takes all of this in stride melding together a very fascinating, dimensional, and entertaining character. I loved watching him every minute he was on screen.
Of course, this takes nothing away from Sam Elliott who fits comfortably into this rugged loner. Richie Marks is very grounded, soaked into the thick of the grit of the city. We first meet him waking up in a 42nd Street grindhouse movie theatre with crack vials littering the floor, and brushing his teeth in the graffiti laden restroom. This is a guy whose luck is just about dried up, but he’s still a solid cop that can rundown the worst the New York streets have to offer. Sam Elliott was only 43 years old when he made this film, and so, his shaggy gray hair and beard make him look older and gruffer than he truly was. Thus, he was still able to throw himself into some physically demanding action scenes, which are great. Elliott has a sly personality and fine charisma that make Richie charming in contrast to the filthy environment he surrounds himself with. He’s a straight arrow cop that knows the crooked dealings in the department, but until now, hasn’t had much motivation or back-up to do anything about it.
Elliott and Weller simply work excellently together. It’s not the typical buddy cop formula where two conflicting personalities clash with a single purpose to bond them. Dalton and Marks might be distinctly different in how they lead their lives, how they present each other, but they are similar-minded men of law and justice that don’t need convincing to join forces. They’re friends from the outset, and we see they are more alike than superficial appearances would suggest. The two actors are tight fits, and have a sharp chemistry and wit that keeps the film energetic and entertaining.
Every other actor in this film does a tremendous, expert job. I’ve loved Larry Joshua in everything I’ve seen him in, and he portrays the main corrupt cop Rydell. He’s got that streetwise, slimy quality mixed in with Joshua’s usual charismatic edge and energy. Rydell is enjoyably corrupt with just the right amount of despicableness to make a villain you love to hate. You really want to see him taken down well before the end Patricia Charbonneau is excellent as Susan Cantrell. She brings a lively vibe with her, but balances that with a solid, assertive dramatic presence in the courtroom scenes. It’s a full, well-rounded performance that holds up strongly opposite Peter Weller. Richard Brooks, who portrayed Paul Robinette on the first few seasons of Law & Order, portrays the drug dealing Michael Jones, and he is a really, strong fit for this role. It’s also a very well written role that works very much to Brooks’ strengths, and he couldn’t be better. And for those that love him, John C. McGinley has a brief energetic and funny role as a lawyer and friend of Dalton’s. There are no weak links in this cast anywhere at all.
Shakedown also has some first rate action sequences. Glickenhaus seems very proficient in this realm as he always finds a way to amp up the scene at some point beyond your expectations. He never settles for the standard chase scene. He adds something especially exciting on top of what already was a damn good sequence, and gives you that memorable punctuation. I was genuinely blown away at the intensity and impact of many of these scenes. They really deliver in full force on every bit of adrenalin and pay-off you’d expect from a solid action film. And I love that the film easily balances the action with the drama of the story. The struggle for justice in the courtroom is given as much poignancy as the crime on the street. They go hand-in-hand with this story, and it’s great to see that both sides are executed equally as well making for a very satisfying narrative.
As I mentioned, there’s more to the film than just action. With Roland, you can see that the relationship with his fiancée does have its turbulence, but doesn’t come off as something that’s falling apart. He starts out as a man on the verge of changing his life with a new career and a wedding on the horizon. However, the man that he is becomes anchored by Susan coming passionately back into his life both professional and intimately. It strikes a sentimental and deep chord with Roland, and I love where the film takes him by the end. It’s a very satisfying character arc, and it never feels clichéd or contrived. It’s smartly written with touches of levity, tenderness, and honesty. All of the dialogue in the film is smartly written highlighting personality throughout, and keeping things fresh, sharp, and entertaining.
Shakedown is also really damn well shot. I liked the use of wide angle lenses which highlighted either the excellent scenery of New York, or simply enhanced some big, dramatic action shots. The film has a slick, polished quality that still delves into the seedier areas of 42nd Street with the grindhouse theatre and a sleazy sex club. We get some nice uses of light and shadow mixed with neon colors that create a solid atmosphere. There is nothing here that is not shot superbly. I find it amazing what good filmmakers could do with $6 million back in the 80s. This film is high quality all the way with great authentic on-location shoots in New York, crane shots, steadicams, and just a big budget polish to everything while never losing an edginess or personality for the film. The editing is also excellent. Editor Paul Fried had a short career that ended the following year, and it’s a shame because I can’t levy a single critique against what he did here. It’s an exemplary editing job from start to finish. It’s tight and sharp hitting all the marks and beats dead-on-the-mark.
The music of Shakedown is also really good. It’s a solid action score using more of a rock driven style that really complements the energetic quality of the film. Jonathan Elias doesn’t have many notable credits to his name, but the fact that he worked alongside John Barry, the regular composer of the James Bond films through to The Living Daylights, is a big mark of quality in my eyes. If this film is any example, he learned quite a lot from Barry, and applied to with his own style that couldn’t have been better for this film. Add in a little Jimi Hendrix “Purple Haze” and a solid upbeat rock/pop tune to close out the film, and you’ve got something that is greatly appealing and fun. It’s a shame no soundtrack was ever released for Shakedown, and that aforementioned end credits song “Lookin’ For Love” by Nikki Ryder is really nowhere to be found.
As if I need to say it, I really, really liked this movie! It was a lot of fun, and it gave me entertaining, dimensional leads with a lot of fresh chemistry and charisma to offer. I cannot reiterate it strongly enough that Peter Weller is stellar in every second of screentime here. I loved the character and his performance. Meanwhile, Sam Elliott delivered beautifully on his end of things. Shakedown was decently successful on its theatrical release grossing $10 million from a $6 million budget, and I think it deserves exposure to a wider audience. I rented this off of iTunes, which has the film available for purchase or rental in high-definition widescreen. I was thoroughly satisfied with this movie, which was released in international markets as Blue Jean Cop, and this gets my full fledged recommendation. I will be glad to add this to my DVD collection, and I hope you will give this 112 minutes of your time. It’s an exciting, fun ride that has a lot to offer the action movie fan.
I have a tendency to miss out on great films in the theatre due to an uncertainty about them. I can get so used to how mainstream films are marketed that when I see something distinctly different, it’s hard to be sold on it. Thankfully, better late than never, some trusted word of mouth finally got me to check out Drive. To my sensibilities, this is an astonishing, flat out amazing film. This feels like if Michael Mann made a movie between Thief and Manhunter, and was scored by Tangerine Dream. This is fully evocative of a 1980s neo noir crime thriller with its sense of tone and atmosphere and using a magnificent soundtrack to envelop an audience into its emotion. Beyond that, I feel Drive is also brilliant.
Ryan Gosling stars as a Hollywood stunt driver by day that moonlights as a wheelman for criminals by night. He’s employed and aided by Shannon (Bryan Cranston), a former stuntman who is propositioning the shady Bernard Rose (Albert Brooks) to invest in a race car venture with this “Driver” as their star. Though a loner by nature, the Driver can’t help falling in love with his beautiful neighbor Irene (Carey Mulligan), a young mother dragged into a dangerous underworld by the return of her ex-convict husband. After a heist goes wrong, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals including Rose himself and the bull-headed Nino (Ron Perlman). Soon he realizes the gangsters are after more than the bag of cash, and is forced to shift gears into a brutal, unrelenting head-on collision.
I will grant that the film is not heavy on plot. It’s fairly simple and straight forward keeping itself contained to a small collection of characters. Some might find that a letdown. However, the substance of this film is in the presentation. Ryan Gosling’s character is very minimal on dialogue allowing his presence and the atmosphere of the film to carry the Driver’s weight. The performance alone is very understated and low key, but not skimping on intensity or humanity. His carefully chosen words hold purpose, and Gosling’s soft spoken delivery forces an audience to focus their attention closely. Sometimes, a lack of dialogue can bring a mystique and an intriguing quality to a character, and Gosling sparks that magic. His performance allows you to read more into the man instead of him telling you about who he is, and that’s not an easy thing to pull off. The scenes where the Driver and Irene are together bring a subtle charm and heart to the surface. You see the brightness in the soul of this character that contrasts, and later, compliments his grittier, darker side. When he has to become that more intimidating, brutal person later on, Gosling has no problem being convincing. You can feel his visceral intensity permeating the screen. I was impacted hard by those razor sharp moments, and this all comes together in a rock solid piece of work by Ryan Gosling. This is my first exposure to his talent, and I couldn’t be more blown away. Also, wrapping him in that Scorpion jacket is just wickedly cool.
Carey Mulligan puts in a gracefully beautiful performance. She and Gosling have a fine chemistry that gives the film its warmth and purpose. Their performances reflect nicely off of one another with heart and subtlety. She never has to say a word to reflect Irene’s emotional conflict over her feelings between her husband and the Driver. Mulligan touchingly shows that in her eyes and expressions, and how she gravitates to this new charming, under spoken man in her life. It’s an engaging and inviting piece of work.
Albert Brooks is a shocking powerhouse heavy here. He’s intimidating as all hell while still having his light hearted, humorous moments. Still, I never stopped getting that shady feeling from him that he was a mob boss that could slash your wrist or stab you in the eye with a fork without batting an eyelash. There’s such a fine line the character treads that Brooks walks with ease. Even when he’s being friendly, there’s still that sense of unease behind everything he says, and even before you know he’s a mob boss, you get the feeling that there’s something not entirely straight about Bernie Rose. For me, he ranks amongst the best like Christopher Walken in True Romance or Robert Prosky in Thief. He can turn from being your best friend to your absolute worst enemy in half a heartbeat without even seeing a shift in the character’s manner. It’s all rather matter of fact with him, and Brooks carries the appropriate weight to achieve these character traits throughout the picture. I love Albert Brooks’ performance supremely.
The supporting cast is also finely textured. Bryan Cranston has a broken down heartfelt sympathy as Shannon, the mechanic and former stuntman that aids and endorses Gosling’s character. He’s a good natured person who gets in too heavy with the wrong people, and you can’t help but feel for him when things turn worse. Ron Perlman’s gangster character of Nino is interesting. He’s a Jewish man trying to make himself out to be an Italian mobster. It’s not an overt part of his performance, but it ties into Nino’s motivations for being a “belligerent asshole,” as Bernie Rose puts it. Nino has plenty of bravado and ego, but not a lot of good sense. Perlman nicely inhabits those qualities with plenty of enthusiasm. Oscar Isaac does well as Irene’s husband Standard. The character clearly stands out as a person stuck in a number of unwanted situations. These criminals are violently pressuring him to do this job for him to pay back his debt, and it’s subtlety obvious that his wife does not want to be with him, anymore. Isaac shows the character’s regret well, and comes off more of a sorry man than a sympathetic one. He’s a guy that’s made a mess of things, and knows nothing will ever be okay ever again. The damage is done, and he’s just trying to sweep it under the rug as neatly as possible. However, he’s endangered the lives of his wife and son, and the Driver has no sympathy for the man. He only helps him out for the benefit of Irene and Benicio. These actors all add a strong array of emotion to the film which heightens the tone and atmosphere.
Now, speaking of atmosphere, the score constantly hit me as something very akin to Tangerine Dream’s score for Risky Business. It has that very light, dreamy quality to it most times, but does delve into very dark, heavy territories. There are foreboding, tense moments in this score that are just mesmerizing. Cliff Martinez crafts a deeply enveloping auditory experience which soaks into nearly every fiber of the film, but the filmmakers pick key moments where silence holds more weight than a soundtrack. The collection of songs in this film retain that 1980s ambient synth-pop quality, but have a modern quality that is beyond my ability to articulate. From my own independent filmmaking experiences, I know how insanely difficult it is to find modern original music that sounds like it came from the 1980s. So, the fact that music supervisors Eric Craig and Brian McNeils discovered and assembled music of this amazing style and quality impresses me to no end. I purchased the CD soundtrack, and it now ranks as one of my absolute favorites of all time.
The chase scenes of Drive are masterful. The first one is exceptionally smart being tactical in evading the police instead of going for outright action. That aspect come later after the botched robbery. It’s short and to the point being very slam bang intense, and not over indulging in itself. The opening sequence is exceptionally refreshing by being intelligent. On top of being realistic and smart, it is an excellent introduction to our main character showing his precision as a getaway driver. These scenes are expertly shot accentuating the distinct tones and tensions of both sequences.
When this film gets brutal, it holds nothing back, and hardly goes in predictable directions. The Driver never relies on a gun, and instead, goes with blunt force trauma to inflict violence upon people. The scene where he goes into the strip club wouldn’t be nearly as effective if he just brandished a gun the guy’s face. When you see the Driver pull out a hammer, you know this is going to be dead serious business, and it’s not going to be pretty. It’s a startling, powerful sequence which further propels the character’s threat level. He’s not just some cool headed amazing driver, he’s a dangerous man not worth crossing. The violence overall is graphic and gory, and shockingly unsettling. Emotion just pours through these scenes.
I am further floored by the cinematography talents of Newton Thomas Sigel. I’ve previously reviewed his work on The Usual Suspects and Fallen – both gorgeous films with their own identities. Drive is no different. No shot is ever wasted, and every composition is chosen with purpose. How the film is shot reflects the artistic vision realized with the music, acting, and editing. The film has inspired moments of absolute cinematic beauty due to Sigel’s artistic brilliance. The elevator scene late in the film is a magnificent example of this. The lighting and color tones used throughout create rich visuals which enhance the film’s atmosphere further.
This is a film where every element is cohesively used to create a powerfully enveloping experience. The conservative editing style of Matthew Newman allows Sigel’s shots to hold their weight, and establish a somber or rich tone that draws an audience into every moment. The music enhances those moments to create a wonderfully vibrant sonic quality for even the most still or fluid sequences. I haven’t seen a film like this since Manhunter. The music plays such a prominent role in creating a rich atmosphere that is as in the forefront of the picture as the actors. Each aspect is integral towards what is a wonderfully engrossing motion picture.
Drive is something which shows what independent film can do. It takes chances. It goes for a filmmaking style that has not really been around in more than twenty years. It takes an immensely effective way of crafting and presenting a film that a major studio would likely not embrace. It’s an intelligent, fresh, and creative film that feeds the senses. It gives you white knuckle action, a heartfelt romantic storyline, strong character drama, graphic brutality, gorgeous cinematic moments, intelligent writing, amazing performances, and a beautiful, exciting soundtrack. It’s hard to imagine all of these phenomenal visual and auditory elements coming across in a screenplay, but Hossein Amini clearly wrote something truly inspiring on those script pages to inspire the amazing film we ultimately got. I know nothing of the James Sallis novel this was based on, but clearly, the written word captured the vibrant imagination of these filmmakers. I will admit that Drive is not a mass audience movie as it requires an appreciation for a certain filmmaking style, but for those that love a slick 1980s style crime thriller that utilizes strong atmosphere and a prominent synth-pop soundtrack to wrap you up in its story and characters, this is absolutely for you. In my view, Drive is a meticulously crafted masterpiece of cinema born out of a bold vision from director Nicolas Winding Refn. I love this film thoroughly, and I cannot give it a higher recommendation than that.