Not to be confused with the cartoonish but much more enjoyable “Transporter” series, “Driver” is a cool, stylish and sophisticated art film that degenerates into a gritty ultra-violent grindhouse flick. Give credit for the originality of its nuanced performances, authentic car chase scenes and film noir ambiance, as this is not your grandfather’s Buick.
Ryan Gosling (“The Notebook”) delivers the goods as an imperturbable man of few words. His unflinching calm and subtle facial expressions are more penetrating than any dialog could offer. Danish director Nicolas Winding Refn inserts pregnant pauses between each exchange to effectively keep the audience invested in the storyline.
Unfortunately, when this really nice ride begins to stick in idle, it suddenly accelerates at full throttle. It then skids off the track at breakneck speed in a reckless collision course with graphic violence. Serious film-goers might enjoy this unabashed emotional release, but casual audiences will flinch at the relentless over-the-top carnage.
This quiet wheel man with no name is a stunt driver by day and get-away driver by night. In between, he’s a mechanic for the two-bit low life Shannon (Bryan Cranston), who might be Driver’s best friend. When asked, “What do you do?” He responds, “I drive.” Driver is a low key, impassive, deep thinker, but clearly not soulless. He keeps to himself, but we’re never sure what’s going on inside this guy’s head.
Driver explains to his night shift client, “If I drive for you, you give me a time and a place. I give you a five-minute window, anything happens in that five minutes and I’m yours no matter what. I don’t sit in while you’re running it down; I don’t carry a gun . . . I drive.” He also listens to Clippers basketball, which somehow becomes part of his get-away plan.
Thankfully, we don’t expect “Dukes of Hazard” hi-jinks in these action car chase scenes in and around downtown Los Angeles. They seem so realistic, we were genuinely fearful they may get caught, injured or worse. Each unpredictable encounter is intense, suspenseful and backed by a stylish musical score by Cliff Martinez.
Everything changes when Driver meets his new neighbor Irene, played by British actress Carey Mulligan. Irene’s husband Standard (Oscar Isaac) is in prison but is soon to be released. Irene and her son have a unique effect on Driver. He soon finds himself caring about someone other than himself for maybe the first time in years.
Always looking for another way to exploit Driver, boss man Shannon enlists the help of seedy small-time criminals Nino (Ron Perlman) and Bernie (Albert Brooks). Brooks, whose real name is Albert Einstein, is a journeyman comic who is more readily acceptable as a slimy mobster than with his off beat hit-and-miss humor.
Shannon proposes Bernie invest in a race car for Driver. Meanwhile Driver offers to help Standard and somehow the events might be related. Hopefully, they’re all on the same side. If not, we may learn why Driver displays a scorpion on the back of his windbreaker.
Iranian writer Hossein Amini created a taut script, but director Refn takes the graphic killings to the lowest common denominator. He even sought consultation on how to make facial damage appear more brutal and realistic; mission accomplished.
“Driver” is 100 minutes and rated R for strong, brutal, bloody violence, language and nudity. For those who love raw pulp fiction, this will fix you right up. Hugh Jackman was originally cast, but was thankfully replaced by Gosling, who takes his craft seriously and continues to grow. He personally restored the ’73 Malibu used in the film.
Gosling selected Refn who has no interest in cars whatsoever. This is also the first film Refn directs that he did not write the script. There are plot twists but far too many gruesome, graphic killings for our taste. Driver is a compelling figure. We learn all too well that he drives and what he drives, but never learn what drives him.