Nicholas Winding Refn, 2011

Drive set out with the goal of being a stylistic exercise that was indebted to Bullit, Le Samourai, and Michael Mann’s Thief.  It wanted to have that quiet European pacing, so people don’t talk a lot or very fast. When violence happens it is extreme especially compared to the quiet that preceded it.  The opening 10 minutes before the credits are better than the whole rest of the movie.  It’s a good movie that meets the criteria it wants to meet without transcending the movies it derives from and that is fine, you don’t have to go above and beyond to do it.

-Daniel Von Egidy, 2012

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