This blog is now closed. After three years and 311 posts, I have decided to end this blog. I have enjoyed watching the films, reviewing them, and interacting with global readers.
If you are interested in contacting me, you can do so by commenting on any of the posts. The blog will remain live on the web. Thank you to all the readers for your comments, ideas, and thoughts. They were helpful, stimulating, and enriching. This is Alene, signing off.
December 15, 2011
When it's over, silence says a lot. There isn't much dialogue in this small independent film, especially for actor Ryan Gosling, who plays the Driver in a story about a part-time stunt performer, slash mechanic, slash getaway driver, who finds a price on his head when a heist goes sour. Gosling does a solid job without saying much. The script purposely called for a scarcity of words, which in the beginning of the film, seemed oddly strange, but Gosling manages to convey through his body language so much more than words ever could have. In many ways, the silence helps shape the Driver's personality by defining his flaws, his loneliness, and at times, his violent tendencies. I really liked the look and feel of this film. By using costumes, retro music, and set design, Danish Director, Nicolas Winding Refn, has created a stylish neo-noir film that consists of a unique blend of sleaze and corruptness in modern day Los Angeles reminiscent of cult classics such as Bullitt (1968) and To Live and Die in L.A (1985). The neon credits in the beginning and end is a nice touch and adds to the overall look of the film. There's great camerawork and editing which keeps the story on track and heightens the tension between a well casted list of characters portrayed by Carey Mulligan, Albert Brooks, Bryan Cranston, and Ron Pearlman.