Author Archives: Leonard Wilson

Quick Film Review: Immortals (dir. by Tarsem Singh)

Posted on by Leonard Wilson

Perhaps I’m jaded and spoiled by movies like Jason and the Argonauts and games like God of War.

I’m pretty sure that in an alternate dimension somewhere, audiences are sitting in the theatre and loving the hell out of Immortals. Maybe in some ways it’s actually good, but I can’t see them. At best, the film acts a great demo reel for Henry Cavill, who audiences will see as Superman sometime next year. For that reason, and perhaps Mickey Rourke’s Hyperion, Immortals is worth a peek. Even then, you may want to have someone take you to the movie, rather than pay for it yourself. Let’s put it this way. I spent more time on my iPhone with the brightness dimmed during the movie than I did actually watching it, and that’s a rarity for me. You’re better off waiting for the Netflix Edition. Everything you see in the trailer is basically the film in a nutshell.

The only other thing it really does have going for it is the 3D, which actually happens to be pretty good for the half hour that you can see it (and perhaps that’s just me, because it feels like it fades over time). The film does feel as if it were primarily filmed in 3D, and boasts some awesome visuals, but the story is a little jumbled. I won’t deny that Tarsem Singh has a really fantastic eye for painting a scene from The Cell to this point, but without sharp writing there’s something lost in the translation. It’s like watching David Fincher when he was still partnered with Darius Khondji on Seven or Spielberg with Kaminski in Minority Report. You can make pretty pictures, but there has to be some kind of meat and potatoes to it for the audience. That’s just how I felt here.

Eons ago, you once had mortals and you had gods. Zeus, Poseidon, Athena, Apollo, Dionysus, Aphrodite, etc. In Immortals, the gods learned that they had the ability to kill one another and as a result, there were a number of wars.  Enter Hyperion, who loathes the gods and wants them destroyed. In order to do this, he has to unleash the Titans, who were once servants of the gods but were punished for their treachery and sealed away in a special cage that can only be unlocked with an item called the Epirius Bow (which was one of the elements I truly enjoyed).

Our hero, Theseus (Cavill) lives a quiet life with his family when Hyperion’s forces attack. In the process, he witnesses his mother’s death at the hands of Hyperion himself and swears vengeance. Captured and left for dead with a number of others, he meets a mystic named Phaedra (played by Freida Pinto, who seems like she may be playing the same role emotionally that she did in Rise of the Planet of the Apes). Phaedra provides him with visions that allow him to reach the Bow.

Lead by Zeus, the gods watch all of this from Olympus, but are unable to interfere in the affairs of mortals on pain of death. These sequences (when they do happen) are the ones that you’re seeing in the trailers for the most part. Oceans rise and bad guys are cut down so fast that the first hardly has a chance to fall before the ninth one is hit. It’s amazing to see, it really is, but it’s been done before in movies as old as Jet Li’s The One. The film doesn’t lack in action, and in that, there’s a plus. What I had personally hoped for was something akin to giants or mythical creatures. Even though it was geared for teens, last year’s Percy Jackson and the Olympians offered more of a mystical element than Immortals did for me. It wouldn’t have hurt to have undead warriors or harpies or something. For all the money spent in effects, everything in this film seemed to be grounded in human based actions.

All of this culminates into a huge 300 like battle, right down to the narrow passageway that is used as an arena of battle. Theseus rallies his troops that are ready to retreat with a speech that’s helped along with the banging of shields. It was nice, but again, it wasn’t anything terribly new – “They’re only human!!” *clack clack clack* “We can beat them!” *clack clack clack* “For the children!!” *clack clack clack*

“And a tighter script!” I wanted to yell with a raised fist. “And maybe a refund!”

As for the audience, they seemed okay with it. There is a love scene which I don’t think younger audiences are ready for, but it was done in such a way that the “fade to black / open to the following morning” shot doesn’t let things get too far, visually.

When it gets to video, I may see Immortals again (because it is visually beautiful), but you’re better off treating yourself curling up somewhere and reading Homer’s The Odyssey for a while and letting your imagination fill in the pieces. It’s a okay film if you don’t ask for more than what it’s giving you.

Quick Film Review – Weird Science (dir. by John Hughes)

Posted on by Leonard Wilson

Today, the Shattered Lens is kicking off a special birthday celebration for our fellow contributor, Lisa Marie Bowman, with a set of “Lisa” themed reviews. My contribution to the Everything Lisa festivities is one of my favorite John Hughes films, Weird Science. I love this movie.

Weird Science is basically about two teens, Gary (Anthony Michael Hall, a Hughes favorite) and Wyatt (Ilan Mitchell Smith), who have the house to themselves and come up with a crazy idea to build themselves a girl. With the use of a computer and a modem, & a little Einstein & Mozart, they end up with Lisa (Kelly LeBrock), who acts as something of a genie in their lives. It requires a bit of suspension of belief but for the subject matter, it’s actually fun.

Neither Wyatt nor Gary are very popular individuals. They get picked on by a set of wisecracking bullies (played by Robert Downey Jr. And Robert Rusler), never get invited to any parties and are pretty much left to daydream about how cool they could end up being, only if. Wyatt also has his brother, Chet (a pre-Aliens Bill Paxton in a funny turn), who extorts things from him at every turn. This is where Lisa comes in.

One of the first things she does is to take the boys out on the town. It’s here that she asks them what her name is going to be. The boys decide on Lisa as the name, and she runs with it (even changing the license plate on the car). While the partying seems like something completely out of their comfort zone, by the end of the night, they’re well adjusted. Mind you, it’s helped with a lot of drinking and laughing.

Eventually, the boys slowly grow in popularity after being seen at the mall with Lisa and her throwing the biggest party in town at their house. Like with every John Hughes movie, there’s always a message here, and the boys go a little overboard in chasing their popularity when they try to create another girl for the bullies (which of course goes wrong in so many ways). Eventually, Lisa decides that what the boys really need is something that will build their character. Bringing in a group of Road Warrior-like motorcycle thugs, Wyatt and Gary engage in a standoff that they eventually win (which also wins them kudos).

I’ve seen this movie so many times, it’s ridiculous. When I got my first car, I decided to name it “Lisa”, after this movie and the line that a drunken Gary yells while Wyatt drives – “He doesn’t even have his license, Lisa!” While it may not be Hughes’ magnum opus, Ferris Bueller’s Day Off, it holds a special place for me.

A Happy Birthday shout-out goes out to our own Lisa. Have a great day today!!

Scenes I Love: Orphan – “Max’s Silent Bedtime Story”

Posted on by Leonard Wilson

The snow has me stuck inside today, so we’re going through different horror movies today. While going through some of the movies that were on, a Twitter friend mentioned the movie “Orphan”, which was reviewed here at the Shattered Lens a year ago. I know we’re doing horror this month, but I’ll get back to that a little later. This reminded me of my favorite scene in that movie, one that is neither scary nor fitting for Halloween, but still stayed with me.

In this scene, Vera Farmiga and Aryana Engineer, play a mother and daughter who share a bedtime story. Farmiga and the cast learned sign language in the film, and Engineer helped them along the way (who is hearing impaired herself). This ended up with what I felt was a very sweet scene. The sound is cut for the audience as well, but it’s really not needed. The message between the two is quite heartfelt. Enjoy.

Unfortunately, embedding isn’t allowed for this particular video, but it’s worth seeing.

Quick Horror Film Review: The Blob (1988 Version – Dir. by Chuck Russell)

Posted on by Leonard Wilson

The Year was 1988.

My father was working in a precinct in Manhattan, and on occasion, my family would have to drive into the city to either get his check or help him file / retrieve something there. Whenever we went to Manhattan, we always saw something grand, like the “Ghost Building” which was shimmered in white light (this was actually Rockefeller Center, but my little sister, brother and I never knew). We once even saw the ’89 Batmobile tear through the city on it’s way to deliver the video release of Tim Burton’s Batman to the Tower Records uptown.

At a stop light, right by the Flatiron Building, I happened to glance around at some of the construction scaffolds. They always put movie posters on there, and I’d squint to see what was coming out soon. That’s when it caught my eye, a pink poster that looked like someone was swimming underwater. We got a little closer as my dad had to make a turn and I was then able to make it out.

“Oh no.”, I muttered, scrunching down in my seat. “They redid it.” All my childhood fears came flooding up in a wave of memories.

I once saw Larry Hagman’s Beware! The Blob (alternately known as Son of Blob) when I was really little. The idea that a gooey mass could squeeze under doors and through window cracks and anywhere there was a space freaked me out. This wasn’t Michael Meyers looking for his sister, or Jason Vorhees guarding Crystal Lake. There was no reasoning my little mind could use to feel better about it. Add to the fact it was only bothered by the cold, it made every summer a secret “look over the shoulder” one. When I attended my first bowling match for fun in college, I’ll admit I hesitated to step out into the bowling alley, if only for a second.

I never saw the movie in the theatre. I got so caught up in Who Framed Roger Rabbit, and everyone talked about Die Hard so much that The Blob became something of a blip to the school kids (from what I remember), but it remembered. I read the poster, and kept tabs on the writer’s names – Frank Darabont and Chuck Russell, who both went on to interesting projects over the years.

Okay, enough about my history with The Blob, let’s dig into the film, which is quite possibly one of the best remakes I’ve ever seen. It hits all of the notes of the original while setting down the groundwork for new directions when some fresh ideas. It’s not perfect, but it’s damn good.

The Blob is a re-telling of the classic 1958 film with Steve McQueen, only this time, Chuck Russell (The Mask) and Frank Darabont (The Shawshank Redemption, The Green Mile, The Mist) brought Kevin Dillon and Shawnee Smith aboard. It’s the story of a small town that receives a strange visitor from outer space in the form of a gelatenous mass inside of a meteor. When an old man gets a little too curious with a yard stick, it jumps out on and onto his hand. Needless to say, if you ever see anything fall from the sky, please, don’t go running to check it out. It never really ends well. At least, I’ve never heard of it doing so.

Anyway, like the original, the old man is found by the Gallant Hero (Donovan Leitch) and Heroine (Smith), who put him in their car and head to the local hospital. This results in the death of the old man, but also a twist in that the Gallant Hero is also killed / absorbed by the Blob. Shawnee’s character tries to save him, but to no avail. She’s should consider herself lucky that she made it through okay. While I didn’t see this in the theatre, I always wondered what effect that might have had on the audience. I mean, here you had the would be hero of the story and he’s taken out of the picture in the first act. That had to be amazing, I think.

As with the original, the Blob makes its way to the main part of town by way of the sewer, heading into the local movie theatre. Before getting there, there’s a interesting scene where Meg and Flagg (Dillon) – the bad boy turned reluctant hero – run into the Blob in a diner and hide in a nearby refrigerator. Rather than go with the classic “solidify it all in one piece”, Darabont and Russell decided to make the Blob’s freezing effect more like pieces of quartz. I thought this made things all the more scary – how could one really tell that all of it was ever collected while it was frozen?

One has to feel just a little sorry for Candy Clarke’s character. You run into a phone booth to make a phone call, only to have slime run down the sides. To top it off, you try to make a phone call for the local sheriff (played by Darabont favorite Jeffrey DeMunn from all of his films and The Walking Dead), and as if it answered for her, the Blob puts his decaying face right on the phone booth window. Another twist thrown in the remake is the death of a child. Usually in horror movies, kids are usually spared. Usually. Not so here, and it just adds to the horror of things. No one’s safe unless you’re walking around with some liquid nitrogen, and it’s not like that’s in great supply.

Eventually, we come to find – thanks to a lot of men in white suits and Crossroads Joe Seneca – that the Blob was actually man made, and it’s the scientists fault it came back the way it did. What I found interesting about that was the idea that they felt they had to burn it. Didn’t anyone think of bringing something cold? I mean, they’re scientists. Someone in the group had to have that idea at some point. Anyway, this all ends with a huge battle in the middle of a busy street and the townsfolk hiding in the municipal hall. Meg and Flagg do find a way to get everything fixed, but (as with many horror movies), we’re left with the promise of another sequel.

Overall, I loved The Blob. There’s very little I can find wrong with it, given that the source material was never really Oscar worthy to begin with. This was just a sit down for the adult in me, grab your popcorn and enjoy the film.

The kid in me prefers to watch this in a very cold room, just in case.

Quick Horror Review: Wolfen (dir. by Michael Wadleigh)

Posted on by Leonard Wilson

Michael Wadleigh’s Wolfen (1981) remains one of my favorite stories with wolves, though there are no actual werewolves in the movie. It’s a great and underrated film, though I’m not quite sure if it really can be considered Horror. There’s bloodshed, yes, but not a lot when compared to the more superior The Howling, which came out in the same year.

The film in a nutshell is that you have the Bronx. Back in the late 70’s and early 80’s, the Bronx was a warzone, and there were a number of films showcasing the decay of the area (Nighthawks and Fort Apache: The Bronx are two good ones). When a real estate mogul who’s developing buildings in the area and his wife are brutally murdered, Detective Dewey Wilson (Albert Finney) is partnered with a terrorism expert (Diane Venora) to solve the crime.

Through the film, Dewey discovers that the murders are being done not by people, but the spirits of ancient indians in the form of Wolves – or better to say that they were hunters from an older time. The Wolfen, as they’re called, are scavengers of the city’s decay, feeding off of those who won’t be missed – derelicts and the like.

While Finney and Venora carry the film, Gregory Hines has some fun lines as the local NYPD mortician and Tom Noonan’s Wolf Expert was interesting, though a little strange. The best person in the supporting cast (who doesn’t have as much time to work with) is Edward James Olmos, in a surprising turn as Eddie, who is believed to have something to do with the murders, but later helps put Dewey in the right direction.

Supposedly, the movie was a little heavy handed with all of the anti-terror angle they tried to use. From what I’ve read, it wasn’t a major part of Whitley Streiber’s novel of the same name and it tends to steer the audience away from the actual problem. I mean, the audience is seeing wolves do this (or at least are seeing something animalistic do it), so to bring in the notion that there’s a terrorist plot involved kind of went over my head. The movie would have been tighter without it, I believe anyway.

One of the cooler elements of the movie is that you are able to see things through the eyes of the Wolfen themselves in an infrared vision style. While this was done with movies after it like Predator, and films before it like Westworld, Wolfen was my first experience with the effect. That, coupled with James Horner’s score (a mixture of themes you’d later find in Star Trek II: The Wrath of Khan and Aliens), lend to some of the style. Unfortunately, Wolfen is a somewhat difficult film to find in terms of obtaining the DVD for it, but the film has been on Netflix. If you have a chance to catch it, it’s an interesting watch.

Quick News: The Avengers Trailer Released

Posted on by Leonard Wilson

Marvel has just released the trailer for The Avengers, which is viewable on Apple’s Quicktime Site. The trailer showcases what looks like a big battle within a major city. It also seems like some of the focus in the film is the team having to deal with each other’s issues to work together as a unit. So far, it’s looking pretty good, but I’m noticing they’re really keeping The Hulk under wraps. There’s also a nice use of Nine Inch Nails “We’re in this Together” off The Fragile album.

Very interesting work there!

EDIT: Below is the HD trailer on YouTube if people can’t get the Apple QT site to work.

Quick Horror Review: John Carpenter’s The Fog

Posted on by Leonard Wilson

I have something of a tradition with John Carpenter’s The Fog. Every year, I try to watch the film on the date and time where the story starts – April 20th, at around 11:55pm. It’s not the scariest of stories, but it does have a spooky atmosphere that lends itself well to Halloween – or any late quiet night. I love this movie.

The Fog marked the first film that John Carpenter worked on after Halloween, collaborating with the late Debra Hill, who also produced the movie. She’d go on to also produce both Escape From New York and Escape from L.A for Carpenter. While it didn’t really have the impact of Halloween, it held up until Escape from New York came out the following year.

Here’s the story:

In the town of Antonio Bay, an old captain (John Houseman) explains to some children about the ill-fated Elizabeth Dane (what a beautiful name, I might add), a ship that belonged a rich of crew of lepers led by someone named Blake. The heads of the town conspired to steal the gold by setting up the ship to crash against the docks. It works out for the Conspirators, as they are “aided by a unearthy fog” that blinds the Leper ship’s navigators. and the gold they collect helps to form the great town the kids play in to this day.

What they don’t realize is that vengeance is coming in the form of that very same fog, as the ghost of the Lepers have come to claim the lives of the six conspirators…or their direct descendants.

As a kid, I had a problem with that. You mean because my great great grandparents messed up somewhere ages ago, I have to get killed for it? I remember thinking that it really wasn’t fair, but I’m kind of diverging from the topic here. The story gives you four points of view. You have Nick (Tom Atkins, sans his signature mustache) and a hitchhiker he picks up played by then scream queen Jamie Lee Curtis. You have Curtis mother, Janet Leigh, who’s character is working on the anniversary party for the town and her assistant, Sandy, played by Nancy Loomis (who appeared in the first three Halloween films). The third comes from Adrienne Barbeau’s character, Stevie Wayne, who works for the local radio station. Her character acts as the warning voice for the town and she starts to notice that something’s going on when her son gives her a piece of Driftwood that later echoes Blake’s warning. The final viewpoint comes from Father Malone (Hal Holbrook), who discovers Blake’s diary and learns the truth about what happened 100 years ago. His character helps to piece the mystery together, somewhat.

Carpenter and Hill gathered many of their friends, who went on to work on other films for this. Tommy Lee Wallace went on to direct Halloween III: Season of the Witch (and coincidentally did the voice of the Silver Shamrock ad-man in the commercial) and Vampires: Los Muertos. Wallace’s name was given to Carpenter fan favorite Buck Flower. Nick Castle’s name was given to Tom Atkins character. Makeup Wizard Rob Bottin (who also played Blake in the film) went on to do some of the effects in The Thing.

The makeup effects in this film were okay. The lighting and fog did more to obscure than to actually help one see what was doing the attacking, but it really worked for some of the shadowing in the film. If the movie has any drawbacks, it’s that there’s a really low body count to the film. In essence, there are only 6 people the ghosts are after, so these are only the ones they actually get. It would have been interesting if there were a few random deaths, or more individuals in danger, but I supposed it worked out well for the time period.

The Fog is a nice film to catch late at night. You won’t find it at the upper rankings of top horror films, but it’s one to try, at least. Don’t even bother with the Remake for this one. It’s not even work talking about.

Quick Review: 50/50 (dir. by Johnathan Levine)

Posted on by Leonard Wilson

This is the worst review I’ll ever write. I’ll admit to that up front. This is a highly biased review.

I recently underwent a colonoscopy for what doctors refer to as “excessive bleeding”, which your body isn’t really supposed to do. Part of this also involves a biopsy of tissue to determine if it’s cancerous. I’m still due to find out what was found (because I’ve been dancing around going back as much as I have writing this review), but there’s a sense of dread in knowing that your life can change with just a few sentences from a doctor.  That, coupled with the knowledge that my mom underwent chemo for Lung Cancer and a friend who’s also living with it made 50/50 a hard film to sit through at some points.

I saw the movie on Friday Night, and literally spent the entire weekend with my laptop on my lap with Scrivener open, trying to get this written. The only reason it’s happening now is because I started admitting why I didn’t and wrote a paragraph. If I stop now, this is going to be another Sucker Punch, a film I was going to review when it came out, but refrained from doing so because it hit a little too close to home.

I walked into 50/50 expecting a heavy handed story along the lines of either the last half of Beaches or My Life with Michael Keaton. After all, the story deals with Cancer, which we all know is very serious. I actually left the film glancing at the movie schedule, looking to find out how soon the next showing was. It was a little later than I hoped, so I headed home. If it were any earlier, I would have gone right back. I laughed so much that I might have scared a few of the people sitting in the back of the theatre, and was thankful for the extra tissues I took with me when I cried.

Based on a true story of the film’s writer, Will Reiser, 50/50 is the story of  Adam Lerner (Joseph Gordon-Levitt), who goes through life making all the right choices. He eats right, jogs regularly and crosses when the walk sign is clear. He loves his girlfriend (played by Bryce Dallas Howard), and his best friend Kyle (played by Seth Rogen) helps him laugh through it all. After experiencing some pain in his back, he heads to the doctor, only to discover that he has developed a rare form of Cancer. The actual moment of awareness when he’s told is done so well that I had to bite my lip. Once you know the truth of things, you can’t return to a state where you “don’t” know, and I’ll admit that shook me.

The greatest part I loved about 50/50 was that it was more a story about the Support Groups that keep us afloat than it was about the problem of the illness itself. There are just some things in the world that you shouldn’t go through alone. Each person in Adam’s circle had a different reaction to what was occurring, but Seth Rogen’s character was by far the best, choosing to not allow Adam to wallow too much in what was happening to him.

Adam is assigned a therapist in the form of Kate McKay (Anna Kendrick), who tries to get him to relax and explain how he’s feeling, to which in most cases, he’d say “I’m fine.” It’s amazing how quickly and easily we can say that phrase to deflect every other emotion we may be feeling, and the writing in this film was good enough to play on that angle as well. His mother (Angelica Houston) wants to help her son a little too much, but Mothers can be that way, I suppose.

Just because this happens to be a story about illness doesn’t mean that it has to be non stop gloom and doom. There were a number of scenes that were laugh out loud funny, particularly those with Rogen. It’s Gordon-Levitt, however, who really carries the film. He does a great job here, and it’s a shame with the weekend over that it seems the film won’t overshadow either The Lion King or A Dolphin’s Tale. It would be interesting if the film has enough legs to last over the next few weeks. It definitely deserves a viewing.

Thoughts on the Battlefield 3 Beta

Posted on by Leonard Wilson

I received an email from Electronic Arts this week, letting me know that the Beta for Battlefield 3 was available to play about 48 hours from the main release. Everyone should be able to play it today, and from what I can tell, it’s well worth it for Battlefield Fans. This is just a quick synopsis of playing the game.

I feel like someone out there has been paying attention to the shortcomings of the Bad Company games, and it looks like it’s coming across nicely.

So far, the Beta works off of one huge map. As always, the battle is broken down into three areas within this map. The first of these is a large park. The second moves into a subway system and the third expands out to a city square. It almost feels larger than what was available in Bad Company 2, but is roughly the same size. It seems that a number of changes were implemented, particularly in the explosions in the game. A lot of changes have been implemented, particularly in some of the movements of your character. You now have the ability to go prone and vault over low obstacles. Going Prone has already proven effective in a number of game sessions as fireteams now lie in wait near the foliage close to the demolition targets. It’s become much harder to be able to see anyone when making your way into a situation. That’s a very nice touch, considering that in the past, the most one could do was kneel.

The game still works off of the Class system from previous BF games, but the graphics have been updated considerably. While it may not be very noticeable in the first part of the battle, once you reach the subway, it’s nice to see how large the world you’re in is and what you can do with it. When you throw down a package, it’s a very large box, compared to the small ones in Bad Company Two.

The guns in the game are interesting. The opening gun for the Assault Class remains the M16, but the Specialist class has the M4 as a starting rifle. Additionally, playthroughs on this map will allow you to unlock various attachments such as scopes and new weapons. Though I haven’t seen it first hand, the game explains that laser attachments and flashlights will actually blind a person when shined at them. The guns (the shotgun in particular) appear to be a little overpowered, though that could be my playing a little too much Gears of War before starting BF3. It’s tactical, as always.

One thing I would like to see (unless I missed it) was Night Vision. There is one area of the game, where it’s almost completely dark and is really almost impossible to see anything. You have to pause and look for where the shots are come from and just fire in that general direction. It would be nice to see, if it’s there.

Overall, Battlefield 3 is really shaping up to look like an intense game. I’m eager to see what other maps they’ll have in store later on.

Quick Review: Drive (dir. by Nicolas Winding Refn)

Posted on by Leonard Wilson

Here at the Shattered Lens, we’ve been eagerly awaiting Nicolas Winding Refn’s Drive, which has picked up some major buzz over the last few months. So note that this will not be the only review you’ll see for the film. As the other reviews come in, I’ll update this paragraph to link to them.

Addendum: 

Leonth3duke has added his Drive Review, which examines the film from a lens closer to the director’s point of view and remains spoiler free. Definitely worth reading!

Arleigh has also added his Drive Review – which compares the film to both Michael Mann and David Cronenberg’s styles.

*  *   *   *  *

I was so excited by Drive that I treated my extended family to it (just in case the film went sour, it would be easy to apologize). This is going to be a quick review, because I’m going to ramble.

To quickly sum it up, Drive is a beautiful, artistic film that hits all the right buttons when it comes to the crimes it showcases. It occasionally explodes between quiet reflection and ultra violent action. Even the music was sweet. It’s just a shame though that all that coolness is wrapped up in dialogue and scenes where the pacing……moves……as……………slow…………..as………………this. Honestly, the book this was adapted from felt like it must have been about 50 pages, at best.

Drive is the tale of Driver (Ryan Gosling), a stuntman for the movies by day, and a Wheelman by night. His partner, Shannon (a nice performance by Breaking Bad’s Bryan Cranston) gets involved with a mobster (Albert Brooks) on a business venture. After getting caught up in a heist that goes awry, Driver has to try to protect himself along with the woman and child he’s recently befriended.

Drive has a fantastic sequence before we actually see the opening credits. Everything about that opening is downright sharp and creative. I haven’t seen that cool an opening to a film in quite a while. What a way to hook the audience in.

Overall, the film feels great and unique, but it suffers from one problem that I’ve only seen a few people actually mention. It feels like there’s this pause between every statement between Driver and Irene (Carey Mulligan). Imagine having one character say “Hello”, and then having someone pause the movie for a few minutes before picking it up from there. Drive ended up doing this quite a bit.  I can understand if Driver is a soft spoken, man of action,  but there were moments where I wanted to shake both Gosling and Mulligan to communicate more. I’m not saying they had to move in a particular direction, but they had a lot of patience waiting for replies from each other.  There were other scenes where I felt Refn should have considered adding just a few cuts to the film to increase the speed of the film. The slow pace keeps it from becoming The Transporter, but most of this movie felt like that 3rd act in Heat after the robbery (or the multiple endings in Return of the King) to me. The film felt more like it was in love with itself than anything.

I understand that Drive is an independent film, and with independent filmmaking, there’s a bit more freedom to do things artistically instead of having movie marketers breathe down your throat. While I may lack the film appreciation skills to effectively grasp the artistic impact of Drive on screen, I can say that as a dialog or story driven piece, the movie suffers that one hiccup. Others may see the movie differently than I did.

Pacing aside, Drive is easily worth seeing, and is in some ways similar to some of Michael Mann’s films like Thief and the aforementioned Heat. Ryan Gosling was cool, but knowing that you’re not going to get the kind of emotion from his character compared to maybe Blue Valentine helps to brace you. Working from Mann’s concept of movies, you could relate Driver to a Neil McCauley. In Heat, DeNiro’s McCauley took action when he needed to. If someone forced his hand, the response was harsh. Driver felt like he had something of the same approach, which I really did like.

Visually speaking, I loved it, but it just has areas where Refn appears to be in love with a shot so much that he lingers longer than he needs to. If you never told me who directed this, I might assume it was David Lynch.  The driving scenes themselves are done very well, and the action is also explosive, breaking the silence in the film a number of times. The silence is so strong that something as simple as a gunshot caused most of the audience to jump, which I found interesting.

The other performances in Drive are interesting, especially Albert Brooks and Oscar Issac, particularly. I didn’t even recognize him in this film, compared to his bad guy role in Sucker Punch. Christina Hendricks, though nice to see, didn’t really do too much here.

So with Drive, you can go see it. I may see it again myself. I’m not saying you shouldn’t, but if you yawn somewhere down the line, don’t say I didn’t warn you.

One other thing I had to add here. The Marketing for this film a few months ago (including the original trailer) is closer to the impact of the actual film than some of the marketing that’s being done now. Most of the recent posters and tv ads push Drive as something of an action piece. I would consider it more of a Drama with action occasionally spliced in.