Ryan Gosling, which invests the cars to live and sometimes the black man as a haven for jewel thieves and bank robbers, giving them five minutes of your time, after which they are themselves. Driver, we quickly realized, is an American samurai solo riff by Jean-Pierre Melville, smiling and serene, his moral compass neutral.
Until one day he left an elevator with a neighbor (Carey Mulligan, playing thoughtful) and Irene short clear the path. Irene was a former inmate, almost ex-husband called standard (Oscar Isaac), you have to do a final order to pay his debts and take care of your family. Inevitably, the heist goes wrong. Driver is now in the race, with a bag of loot in the trunk of his car and a couple of gangsters (a brilliant performance by Albert Brooks and Ron Perlman) tailgating behind.
Refn Pusher trilogy made a name, and ran wild with the Vikings Valhalla Rising last year. Driving him to take the role of a safe, soaking in the atmosphere of Southern California's apathetic. He spends the time to highways, or a cruising speed of strip malls, stopping only to break a dialogue precise and sudden bursts of violence that had the audience rocking in the Cannes and rattles their home. If you feel a location familiar to a hundred other movies, it does not matter. The driver is clearly going to hell, and his plunge down is clear the intensity of a daze.
Refn film plays in the main competition at Cannes, where it is against the likes of The Tree of Life, Le Havre and the artist. He can not win, not win, and almost certainly should not win. It is too consciously retro, too much of a series of fresh, shiny surfaces, as opposed to a rounded, the drama of texture. In all cases, the B-movies of this kind are rarely directed towards victory. They are disruptive, disreputable intruders at the party, pointed to disaster and tried to meet a bloody end. The most they can hope for is going down in a blaze of glory. The reader, with bells on.
