"I am a fetish filmmaker," said Nicolas Winding Refn, director of this week's movie "
Drive." "I just make films based on what I like to see, on what arouses me, and not try to analyze them, because if I do, then I can destroy it."
"Drive" certainly feels like a fetish movie, and I mean that in the best possible way. The whole movie is sleek, heightened, and charged with something akin to eroticism, from the inscrutable expression on Ryan Gosling's face to the gleaming surfaces of his car; from the languorous tableaux of nocturnal Los Angeles to the shot of Albert Brook stabbing some hapless gangster in the eye with a fork.
Though Ryan Gosling's stoic visage appears on the poster, the true star of this flick is Refn. The movie's opening sequence shows Gosling's character -- he doesn't have a name in the film aside from monikers like "driver" and "kid" -- plays getaway driver for a pair of nameless thieves. The virtuosity that he displays evading the cops -- hiding under a bridge here, bolting into a parking structure there -- is matched by Refn's virtuosity behind the camera. In an age when actions scenes have devolved into incoherent camerawork strung together by spastic editing over a blaring soundtrack, the economy Refn uses here is remarkable. "Drive" might just be the best-directed movie you're going to see this year.Read More »