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Drive opens with a tense, near-wordless sequence of pure cinema. Ryan Gosling is a getaway driver scanning police bands and tearing through the industrial streets of Los Angeles like a receiver on a long punt return. The sheen of the city at night and pulsing electronic music will put most hardcore film lovers in mind of another great monosyllabic film, Michael Mann’s Thief. Those that don’t know that picture will simply think, wow, this guy is real cool.

After this opening comes a ballsy title sequence with images of what we just saw. It’s an odd curtain call moment, and one that serves the greater purpose of announcing that the visual world of Drive will be one similar to what we’ve seen in other modern noir pictures. . .but not quite.

Gosling is a lone wolf with a varied resume. He works in a garage. He does auto stunts for the movies. He aids in the occasional robbery. And he’s also a sweetheart. When the struggling young mom next door, Carey Mulligan, needs a shoulder, he’s there. He’s also there to help out when the father returns from prison with a desire to go straight, but with prison debts that can endanger the whole family. When Gosling commits to saving them, he shows a drive of righteous violence that is calculating and brutal.

The movie is a bit slow at the front end and also reminds you of a Stallone “Rambo” or “Rocky” movie with minimal dialog. The revenge effected by Gosling’s character is very satisfying, but he doesn’t come out unscathed and as the movie ends you wonder is he really driving into the sunset for the last time or will he live to be in a sequel.

This movie is worth a look, but I down-graded it a bit because of the slow pace that was pretty boring at the beginning.

Rating: 3.8 out of 5