The talent black-hole that is Channing Tatum.
When this year is over and done with, you’ll realize that every single movie released in 2011 headlined one of these actors, though, like you, I have yet to see Channing Tatum, actually “act” in a movie. With the exception of Tatum, seeing these stars over and over isn’t necessarily a bad thing as the projects they’ve appeared in have been good overall (sorry, Your Highness), and after October’s Ides of March, you can add Ryan Gosling to the Honorary Samuel L. Jacksons.
But before you can see Gosling and George Clooney compare abs in Ides, Gosling opens in this week’s 70ish thriller Drive. As befitting a person on the shortlist for Best Actor of His Generation, Gosling’s character in Drive is nothing like his reformed player in Crazy, Stupid Love or his possible cross-dressing murderer in last year’s excellent All Good Things. In fact, Gosling is THE reason to take the Drive, as he’s the best thing about the film, a deliberately paced (read: slow at times) throwback to 70’s noir thrillers when mood and character (read: lingering close ups) meant more than cheap gratification.
Drive Directed by Nicolas Winding Refn
Starring: Ryan Gosling, Carey Mulligan, Albert Brooks, Ron Pearlman, Bryan Cranston, Oscar Isaac and Kaden Leos
Release Date: September 16, 2011
Immediately are we distanced from the majority of groggy thrillers as director Nicolas Winding Refn, working in astonishing form (he won best director award at this year’s Cannes Festival), achieves insistent thrills from the beginning of his new film Drive. Unfurling from the opening credits onward is an excellence and master-class in control and discipline that cannot be disputed. It is a simple chase scene, a getaway driver discreetly navigating a silver Chevy Impala away from the authorities, set during a gorgeously neon-lit night in the heart of Los Angeles. Refn establishes an atmosphere so distinctive that it calls to mind Mulholland Dr., a great atmospheric film with the same vindictiveness Drive has of Hollywood. Drive‘s atmosphere is one that glorifies and harbors masculinity, violence, and existential crises.
Back in May during the Cannes Film Festival one of the movies that was in competition showed up on my radar: Drive, directed by Nicolas Winding Refn from the novel by James Sallis. The film went on to win the Best Director award for Refn, the Denmark-born filmmaker whose credits include the Pusher trilogy, Bronson, and Valhalla Rising. Last week the first trailer for Drive was released following the film’s panel at the San Diego Comic-Con.
You can watch the trailer here below. Be warned though; it’s a red band trailer.
The plot follows a Hollywood stunt driver (Ryan Gosling) who moonlights as a “wheelman,” a getaway driver for various criminals. His double life gets compromised when he becomes involved with a woman (Carey Mulligan) and her ex-con husband (Oscar Issac) and finds himself running for his life from a crime boss (Albert Brooks) and his associate (Ron Perlman). Christina Hendricks and Bryan Cranston co-star and Oscar-nominated writer Hossein Amini (The Wings of the Dove) adapted the screenplay. The film also features heavyweight behind-the-camera talent like cinematographer Newton Thomas Sigel (Three Kings, The Usual Suspects) and music composer Cliff Martinez (Narc).
For those who are not aware, yes, Baz Luhrmann, the director behind visually stunning musicals like Moulin Rouge! and beloved story re-imaginings like Romeo + Juliet, is working on a new adaptation of F. Scott Fitzgerald‘s classic novel, The Great Gatsby.
The movie is currently set to star Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire with hopes for release at some point in 2012, but it was something that Luhrmann said at the recent Consumer Electronics Show in Las Vegas that has eyebrows raising the world ’round.
Luhrmann said that though no official decision has been made, he has “workshopped” Gatsby using 3D technologies and that he might ultimately decide to create his version of the story about glitz and glam and bootlegging during post World War I Prohibition in the roaring 1920s.
As always, we like to have the results of the big awards ceremonies here for all to see, and tonight was the biggest of them all: the 82nd annual Academy Awards.
This, the king of all awards shows, has faced much criticism the last few years, and their nominations this year did not help bring validity to their cause. Many of the films and actors were very deserving of their nominations, but many others were passed over in lieu of some big box office successes of questionable overall quality. And though they made a valiant effort to increase the excitement of the show with 10 Best Picture nominations, the end result was frustrating to we the film lovers of the world?
In the end, some fantastic films and performances were justly awarded, and as always, there were a few that rubbed the wrong way. Continue on over to the other side to see all of the final results!