Drive speaks volumes. It’s borrowing and commentary of film noire, French new-wave, american cinema (historical and contemporary), and art house are unbelievably astoundingly developed. Post-modernism eat your heart out.
It’s Le Samourai, meets In The Mood For Love, meets Shoot The Piano Player, and so much more. Yet Drive is more than a film about films or the state of US movies (making it a film lover’s film). Rather its own themes, characters, and story-lines will be the meat and potatoes of film students to come (on top of Drive’s relation to past cinema).
Personally, I love the mixed style: dark, gritty, the heist, with mixed emotions of love and hate, important silence, the inside and outside, mystery, the natural, realistic yet still fiction, and the American—Full of substance and heavy. We deserve more films with such merit.
It’d be no stretch to say that Drive is the best of 2011. Perhaps, it’ll stand the test of time and rate with the greats. If my money were on it, I’d bet on Drive.