Film Review: Drive

Drive is a film that packs a visceral punch so powerful, that the images and moments contained within have managed to resonate with me since I first viewed the film months ago. Whether it be the nostalgic 80's tinged soundtrack, the powerful rumblings of a car engine, the moments of subtle yet beautiful human interaction, Driver's wicked-cool jacket, or even the instances of shocking and brutal violence, Drive manages to engage the viewer in ways that many films can't; it recognizes that even the most complex emotions can be triggered by the image and the experience, not logically.

What much of Drive's distinct and beautiful imagery manages to accomplish is a certain sense of the iconic that either isn't much pursued in the realm of modern cinema, or is done so very unsuccessfully. Drive is simply a gorgeous film, visually. It's a strange but wonderful combination of both modern stylistic leanings and those of the 80's, providing a uniquely immersive experience, in that the viewer feels holistically immersed in stylistic cues of the past, through instances of more familiar visual imagery.

At its core, Drive is very much an action film, following a somewhat linear progression centered around moments of climax in the form of violence. But, this is quite unlike any action film I have ever viewed, in-that it is presented very much as an art film. Each shot is meticulously crafted, and maximized for aesthetic value and impact. This film isn't at all concerned with serving as a vehicle through which action can be enacted, but rather with being good art, and art that is most important through an action vehicle.

The human element is also notably distinct within Drive. Most notably, Gosling delivers a uniquely nuanced performance as Driver, presenting another window into his wealth of talent as an acting presence. Very little is said by Driver throughout the film, creating a unique sense of tension and mystery within the scenes in which he is present. Gosling's character evokes both a sense of empathy and horror (much more empathy, from me, though) from the viewer, not allowing for any sort of concrete feeling towards him as a character. Carey Mulligan also delivers a fascinating role as Irene, Driver's neighbor, bringing about changes within his role, through her unique character traits. But, really, all of the characters are quite interesting here, weaving a unique web of contrast and cohesion (I just feel it would be a tad indulgent to break-down each and every one).

Ultimately, Drive is a powerful cinematic feat. It manages to remain important after viewing, as a uniquely visceral and important experience. Loveliness, people; loveliness.

C.W.

Do Visit This Site

My good friend Corey Gilmore and a number of collaborators have recently begun a movie reviews/news resource. I can certainly vouch for his taste, and I have thoroughly enjoyed what has been presented thus far. It's also likely that I'll be posting the odd review on here, as well. Do visit the link below.

This link, to be precise.

C.W.

Album Review: Hurry Up, We're Dreaming.

M83's frontman Anthony Gonzalez has frequently stated that the music of M83 isn't so much concerned with the present or even reality, so much as it is with representing idealized memories of the past. What content I have listened to in-relation to this group has a prevailing sense of adoration for youth, and the possibilities for both great joy and pain that are associated with this phase of life. While there are modern flourishes to M83's output, many of their musical leanings and their overall aesthetic are deeply rooted and grounded within the culture and music of the 70's and 80's, perhaps because these eras meld so seamlessly with the before-mentioned attitude towards adolescence and the world. When people of all ages think about their own perception of youth, cues from eras past, such as the film The Breakfast Club are more likely to come to mind than any sort of modern commentary on youth and the psychology and feel of it.

Hurry Up, We're Dreaming. is distinctively less John Hughes than their prior release, Saturdays=Youth, though. This is hard to put into words, but if I were to compare Saturdays to a film, it would be The Breakfast Club, and if I were to do the same for Hurry Up, I might even compare it to a film such as Close Encounters of the Third Kind, and the child-like wonder that it exhibits. Much like its predecessor, it is filled with mechanical drums, and retro-sounding synthesizers, but, what is different here, is that Hurry Up is notably more "big" than the more subdued nature of Saturdays. M83's newest is also quite a bit more eclectic than previous releases, sporting its wide array of influences with pride. Musical cues such as 80's pop and even more Kraut-esque synth leanings reminiscent of Tangerine Dream are apparent. Both the synth anthems such as "Midnight City" and more subdued ballad-type songs such as "Wait" are equally effective, representing a group that is able to musically represent a variety of emotions, vibes, and paces.

While nostalgia and melancholy still flow freely through this album's veins, there is also a more distinct wave of hope and innocence present here. Almost as if Hurry Up, We're Dreaming. is tapping into a greater sense of childlike wonder and innocence, as compared to a more cynical teenage outlook. Along with this subtle shift in tone, the most instantly noticeable difference here is Anthony's vocal delivery. Rather than utilizing a more whispered vocal of previous releases (which is still used here, in moderation), Anthony has adapted a much more powerful high-pitched vocal, similar in style to Sting, or in the more recent musical climate, Ezra Koenig of Vampire Weekend.

Ultimately, Hurry Up, We're Dreaming. is a wonderfully effective piece of escapist, synth-heavy, pop music. Its complete lack of interest in reality is what ultimately makes for such a cathartic experience. Lovely music, here.

C.W.

My Philosophy

Here, I want to provide a bit of context for future reviews found on this resource, in an attempt to provide a greater understanding of where I am coming from as a critic.

What I am creating and posting on this blog is solely the opinion of myself. I do not intend to post reviews from the vantage-point of one who is "above" the reader in any way, but rather, I hope to share my passion for music, film, and literature to my readers, instilling a greater interest in these areas within them, and alerting them to content that they just might enjoy.

I also don't intend to review only what art is current, but rather, I plan on sampling from the vast collection of artistic content available through time. Some reviews might relate to artworks of a recent nature, but others might pertain to art of decades long-gone.

Finally, through my reviews I aim to attempt to present clearly what any given album, film, or novel "is", in the sense that I hope to provide a clear portrait of what the work of art's aesthetic is, and ultimately, how it does and doesn't resonate with me.

I've decided not to include any sort of score at the end of my reviews, as I feel that they can accomplish more harm than good. With a score as a conclusion to a collection of thoughts, I fear that the reader will against their will, filter my thoughts, and in turn their thoughts through the provided score, damaging their ability to experience the related art "tabula rasa", as opposed to with an idea of the art's "intrinsic value" or "objective merit". It would also be quite annoying for me to accurately score works of art within the same scale. The fear of giving a work of art a 9, that I in reality like less than another that I awarded an 8.5 is a stress that I'd prefer to avoid, thank you.

Ultimately, I hope that the reader extracts at least some of the enjoyment that I experience from formulating my own thoughts on art. Enjoy.

C.W.