Drive (2011)

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Gosling stomps his ‘Notebook’ past in the face.

Seldom has my opinion on a film changed so drastically.

I first saw the film in Romford on the way back from picking up my new car in Enfield, North London. Getting there had been hell. I was on the M25 and running late, but I decided to commit to seeing it, so I left the motorway and began to penetrate the Essex town. To my intense frustration, the roads were full of road works and were subsequently jammed, but by then it was too late to turn back, I had to see it through. Once the road works finally ended, the sat-nav kindly took me straight through the middle of the Romford shopping area, which was a cobbled street full of people, a place where I’m pretty sure cars weren’t allowed – I must have looked a right berk.

After much embarrassment and stress, I finally found the cinema and arrived at the screening just seconds before it began. The timing was great; however I was now in no mood to be watching a film.

‘Drive’ has a very simple premise. Ryan Gosling is ‘The Driver’, a quiet, enigmatic mechanic and stunt driver who moonlights as a getaway driver for the underworld. His lonely existence changes when he meets Irene (Carey Mulligan), a sweet young mother who lives down the corridor from him. There is a clear connection between them, however her husband Standard (Oscar Isaac) returns from prison before their not-so-platonic friendship comes to fruition. Standard is being stalked and threatened by criminals, to whom he owes a mounting debt, a debt which can only be paid through a pawn shop heist. For the sake of Irene and Benicio’s safety, The Driver conscientiously lends his getaway skills to the job, which of course goes horribly awry.

Gosling’s performance is good, he has a steely aura about him that is cold and convincing. However, I don’t think one should get carried away when steeping him in praise, I felt it wasn’t a particularly demanding role. While it is clear that he fits the mould of the laconic anti-hero, I was slightly bothered by the extent of his utter lack of conversational skills, particularly when he’s speaking to Irene. There are moments that are so painfully awkward that it could test the plausibility of their relationship. Gosling is reminiscent of Clint Eastwood’s iconic ‘Man with no name’ roles, but I also made a connection with Dustin Hoffman’s performance in ‘Rain Main’.

I was very ambivalent about the film. I liked the exciting car chase in the introduction, I liked Cliff Martinez’s stylish, haunting soundtrack; I also liked the visuals and the film’s unforgiving, visceral nature. The film is spattered with torrents of claret, stark shankings and devastating gunshot wounds – there’s also a spot of stomping. The film’s violence is ugly and nasty, it adds a brutal energy to the film. However, I had reservations with the lead character and particularly with its thin plot and meagre ending; I left the cinema feeling hollow and thinking it was all rather vapid.

Despite all of this, the film had definitely got under my skin, I was thinking about it regularly. Eventually, I had to give it a second viewing.

Being at home without the aforementioned stresses and knowing the framework of the film, I was able to enjoy it a whole lot more. I was engrossed from the start, relishing the style and edginess of it all. My past reservations took a back seat; it had gone up in my estimations two-fold. It was on my second viewing that I was able to appreciate the innate coolness of its leading actor. How on earth did he possibly make a white padded jacket with a yellow scorpion on the back cool? Oh and the driving gloves, they just reek of cool, and that black roaring Ford Mustang – I am so impressionable. It really got my heart pumping; I couldn’t believe how the film had grown on me.

Ultimately, though, like so many films, especially those that fall into the revenge/retribution format (think Death Wish/Taxi Driver), they’re good until the last stanza, they’re hard to wrap up. However, I even preferred the ending on second viewing – out of the ways they could’ve ended it, this was probably the most appropriate choice. While it is indeed a trifle shallow, if you watch ‘Drive’ on a massive television with an equally massive sound system, it is guaranteed to be a visual and aural treat.

84%

Alien vs. Predator

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In my honest, correct opinion, Predator is a better film than Alien.

While both films share one crucial thing in common, that their narratives both concern a homicidal extra-terrestrial, they are constructed completely differently.  From its score, characters and set design – Alien is all about understatement.  On the other hand, Predator is loud, brash and brilliantly macho. Both films have the same central conceit, however Alien, the one that takes itself very seriously, is the one that unfairly claims all the critical praise.

Despite the massive amount of praise Alien has been steeped in over the years, it’s little more than a B-movie. The film follows a seven-member crew aboard Nostromo, a commercial spacecraft that is carrying millions of tonnes of mineral ore. The cast of characters are:  Ripley (Sigourney Weaver), Captain Dallas (Tom Skerritt), Kane (John Hurt), Lambert (Veronica Cartwright), Ash (Ian Holm), Brett (Harry Dean Stanton) and Parker (Yaphet Cotto).

Their routine procedure is complicated when the crew are ordered to investigate an anonymous transmission from a nearby planetoid. During the investigation, they find a nest of eggs, one of which hatches with worrying results. What ensues back on their ship is nothing more than B-movie fare, which usually isn’t a problem, however its aura of restraint and suspense seems to have convinced people that it’s some sort of masterpiece.

Despite my reservations, I do think Alien is a good film. Its first quarter is compelling, suspenseful and in one particular scene, very shocking. H.R. Giger’s set design is also striking and original, below is an image of the famous ‘Space Jockey’. Last summer I visited the H.R. Giger museum in Gruyeres, Switzerland; it was very interesting, the Alien imagery could be seen throughout his body of work.

space jockey

Through its use of sound, set design and Jerry Goldsmith’s understated, creepy score, the film creates an effectively eerie aura, but it doesn’t do much more than that. I must note that it’s important to consider the impact Alien had on its release. There’s no doubt that Alien is an epochal film that really worked with audiences, however the elements that made it gripping and original in 1979 have unfortunately been eroded by the dozens of spin-offs. On repeated viewings, the film is restrained to the point of tedium; it hasn’t got the replay value of Predator. Some would say that Predator is one of those spin-offs, but it’s so much more than that.

My main problem with the film is its cast, they’re convincing, but the crew members are devoid of charisma, especially Ripley, the leading lady. Predator is by no means an exercise in character development, but its characters are amusing caricatures; the crew aboard Nostromo just leave you indifferent.

After the chestburster scene, a truly remarkable moment, the film drastically reduces its use of on-screen gore. The Texas Chain Saw Massacre is testament to the power of sparse amounts of violence, but in Alien, it just feels neutered and disappointing. Also, there are moments that are laughably dated and unfrightening, most notably in the scene captured below.

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Xenomorph: Suprise!!

Just Like Alien, Predator is a B-movie, however it’s as a B-movie should be, exciting and pulpy. The film concerns Dutch (Arnold Schwarzenegger), a tough Major who commands a platoon of comparably hard men, including: Dillon (Carl Weathers), Mac (Bill Duke), Billy (Sonny Landham), Blain (Jesse Ventura), ‘Poncho’ (Richard Chaves) and Hawkins (Shane Black).  The platoon are traversing through the lush, dangerously vast jungles of Central America to infiltrate a camp of guerilla forces who have kidnapped a politician and his aide.

In stark contrast with the believable but boring crew of Alien, the characters in Predator are funny, charismatic and comically masculine, none less than its leading man Schwarzenegger, who delivers his iconic Schwarzerisms with one liners such as ‘Stick around!’ and the now famous ‘GET TO DA CHOPPA!’. Below is a scene I find very unintentionally funny, but female readers be warned, the scene below is pumped with so much testosterone that you may become pregnant.

Dillon! You son of a bitch!

The bloody confrontation at the camp, which serves as the film’s primary action sequence, is brilliantly shot and choreographed, it’s a quality slice of squibby carnage from the superlative action director John McTiernan, who has largely been a wasted talent ever since the superb Die Hard (1988). Unlike Alien, the violence in Predator is strong and grisly, the film hasn’t dated in this respect, and surprisingly its smart use of CGI hasn’t dated either, it remains convincing to this day.

Predator

Its smart, resourceful use of special effects means that ‘Predator’ is convincing 26 years later.

Predator is a film teeming with life and energy, these vibes being very much compounded by Alan Silvestri’s score, which is both excitingly militaristic and intensely suspenseful.  The film takes a B-movie concept and successfully blends the best of the action and science fiction genres, creating a experience which is thrilling, funny and satiatingly violent. Alien on the other hand exercises its talent in typography.

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I concede that Alien’s typography is superior. 

Alien: 78%

Predator: 85%