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Drive (2011) 720p YIFY Movie

Drive (2011)

A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.

IMDB: 8.070 Likes

  • Genre: Crime | Drama
  • Quality: 720p
  • Size: 707.75M
  • Resolution: 1280*544 / 23.976fps
  • Language: English
  • Run Time: 100
  • IMDB Rating: 8.0/10 
  • MPR: R
  • Peers/Seeds: 15 / 186

The Synopsis for Drive (2011) 720p

A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.


The Director and Players for Drive (2011) 720p

[Director]Nicolas Winding Refn
[Role:Irene]Carey Mulligan
[Role:Shannon]Bryan Cranston
[Role:Driver]Ryan Gosling
[Role:Bernie Rose]Albert Brooks


The Reviews for Drive (2011) 720p


Film Noir meets Hammer Hardened Hero Maker meets Gangster Heavy MetalReviewed bydoncrawVote: 9/10

Ryan Gosling brings down the hammer on that line where logic reason and self preservation become secondary to protecting what is important to you. There are a few moments where he doesn't just cross that line but obliterates it completely.

Beautifully crafted pounding action thriller with twisted humor and seriously hard core violence. Compelling tenderness from characters that are unsophisticated in the best sense of the word.

This film will go down as one of the best Action films in decades. Car chases that rival and extend beyond Bullitt and French Connection. Violence that bursts out of the screen like a horror film or a bad dream by David Cronenberg. Passing moments of tenderness that are drawn out until you are slowly pulled into the emotional world of the protagonists.

Something so powerful, especially when it works, is the use of sharp and dramatic Camera Angles in Drive that mirror the emotional moment of the story drawing you into the characters world.

View and angles often extremely low angled and tilted sharply upward, effective at expanding the feeling of voyeurism of being at the dinner table or in the adjacent seat, right in the room with the characters while safely looking up from some shadow or nook or cranny. Very emotionally transcendent cinematography.

Night footage was amazingly successful at capturing the range of light and shadows, on a technical level the audio and video were strong and assured. Not only the first robbery but all the way through the film right up to the final resolution of the plot, the night was a familiar environment for major turns in the story (pun intended).

I will return hopefully soon to expand on this review, but I had to write something tonight because this film is ten times more badass than any Transporter or Fast and Furious fare that is usually sold in their all too obvious packaging.

Drive leaves them all in the Dust.

This filmed was viewed on the Big Screen at the LAFILMFEST screening June 17th 2011

Fantastic retro action with art-house flair!Reviewed bymarkdroulstonVote: 9/10

It seems to be the case nowadays that film audiences, particularly at this time of year as the summer winds down, are left with a choice of seeing the latest broad appeal movies filling the multiplexes, or venturing to the local independent cinema in search of more intellectual fare. Very rarely will a film transcend these boundaries and offer a mix of Hollywood-style action and art-house flair, which is what makes Nicolas Winding Refn's Drive so unique and something to be celebrated.

Drive tells the story of an unnamed stunt driver (Ryan Gosling) moonlighting as a getaway driver for a crime syndicate run by Bernie Rose (Albert Brooks). Seemingly a loner, the driver becomes involved in the life of his neighbour Irene (Carey Mulligan) and her young son Benicio (Kaden Leos). After agreeing to drive for Irene's newly paroled husband Standard (Oscar Isaac), and finding himself on the wrong side of assassination contract, the driver embarks on a mission to protect Irene from the vicious gangsters who would seek to harm her to get at him. It's a well-worn plot line which in the hands of someone less adept than Refn would likely be nothing more than a forgettable thriller, yet the massively talented director, who picked up the Best Director prize at Cannes this year for Drive, crafts an engaging and thrilling throwback film elevated by masterful performances across the board.

Refn, previously known for the fantastic Bronson, and the lesser known but equally excellent Pusher trilogy, is a man who has very clearly studied his Kubrick. Certainly most modern directors could do worse than imitate the style of one of history's greats like Stanley Kubrick, but rarely does one pull it off with the skill of Refn. In Bronson, the influence was a little more obvious, with the resulting film seeming like something of a spiritual successor to A Clockwork Orange. With Drive however, the traces are a little more subtle, visible in the impeccable technical touches, and the use of dissolves, pensive long takes, and slow zooms, a hallmark of Kubrick's catalogue. Drive is a flawlessly crafted film, filled with beautiful imagery of the Los Angeles underworld seen more often in the work of Michael Mann.

The technical achievements of Drive are more than matched by the acting of the entire cast, and Refn shrewdly selects a wide variety of performers to populate the story. Top notch support comes from Bryan Cranston, Christina Hendricks, the ever dependable Ron Perlman, and particularly Brooks, who jettisons his familiar comedic persona in a truly frightening and villainous performance, which will surely be on the radar of voters come awards season. Mulligan shows characteristic heart in a largely overlooked role, yet the film unquestionably belongs to Gosling. Often heralded as one of the finest actors of his generation, in Drive Gosling delivers his best work yet as the driver; a quiet role that is all the more effective due to the subtlety of the performance. He displays an ability to ratchet up the tension using just the slightest widening of his eyes and tensing of his jawline, and when the character is pushed to act more forcefully, Gosling transitions from almost silent observer to brutal aggressor so swiftly that it leaves one breathless. It's work that he makes look easy, yet it's the most focused performance seen in an action film in quite some time.

There's something undeniably retro about Drive, with its neon opening titles and 80s infused soundtrack, but the film seems remarkably fresh. Smart action filmmaking is so hard to come by these days, so Drive delivers refreshing variety, beginning the time of year when the so-called prestige pictures are released with a bang.

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Gosling leads the third generation of serious Hollywood talent.Reviewed byLloyd BayerVote: 7/10

Something about Ryan Gosling caught my eye when I first saw him in "Murder by Numbers". Opposite Sandra Bullock, I was heavily mistaken for underestimating this relatively new actor. After "Fracture", Gosling had my full attention. Not only did he refuse to be outdone by the legendary Anthony Hopkins, Gosling vindicated his star power as an up and coming actor with some serious screen charisma. With "Drive", Gosling smashes it out of the park. The best part? He doesn't even say much in the movie but gets it done through sheer screen presence.

Adapted from a short story of the same name, Gosling plays a nameless Hollywood stunt car driver and mechanic, who also moonlights as a getaway car driver. As the getaway driver, his rules are simple: burglars must finish the job within a five minute window and never contact him for another heist. After helping his neighbor Irene (Carey Mulligan), and her young son, with car trouble, The Driver starts to spend time with them. Just when an air of attraction develops between The Driver and Irene, her husband Standard (Oscar Isaac), is released from prison. From here on, things turn ugly for everyone. Standard owes mobsters money for protection during his time in prison. The Driver helps Standard in what should be an easy 'in-out' heist, but the job is a setup and our hero ends up running the gauntlet with mobsters Bernie Rose (Albert Brooks) and Nino (Ron Perlman).

There are three names that I think deserve high praise for this movie. Aside from Gosling, director Nicolas Winding Refn does a phenomenal job with almost every aspect of this film. There are flaws, some factual and some due to obvious oversight in editing, but in giving Refn the benefit of the doubt, on a whole this movie is one fine piece of work. What works for Refn is the mood he creates when setting up a brooding atmosphere, along with the 1970s period setting. This is the result of seamlessly integrating an exceptional score by Cliff Martinez with intentionally mute moments. Evidently, Refn also pays attention to cinematography that focuses on a first-person perspective, literally putting the viewer in the driver's seat. Even so, you get a feel of the world surrounding The Driver, but his past always remains a mystery. It is this mysterious past, complimented with a haunting atmosphere that gives The Driver an almost super-human personality. Towards the end, this personality makes him appear unstoppable as a man on a mission.

Coming back to characterization, and as I said before, Gosling owns it. He fits snug behind the skin of his character in a way that dates back to the days of a younger and angrier Clint Eastwood. I am not placing Gosling on par with the legend that is Eastwood; rather that Gosling's characterization of an anti-hero is memorable and justifies comparison to the likes of Eastwood, or even Robert De Niro for that matter. When it comes to Mulligan and Gosling in the same frame, the atmosphere shifts to a whole new level arising from just flirtatious eye contact. There is a definite yet restrained sensuality between both characters and even for the few muted scenes they are together, on-screen chemistry is obvious. Another worthy mention is Brooks as the cynical antagonist with a thing for blades. Incidentally, Brooks does it better than Perlman, where both play mafia foot soldiers.

I recommend this as a must watch for its style, story, portrayals and artistic visuals. The narration flows at a steady pace but gradually picks up momentum towards the end and includes some scenes of extreme violence when you least expect it. Thankfully, Refn doesn't dwell too long on scenes of blood and gore.

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