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Sony Pictures

Drive 4K Ultra HD SteelBook - 4K Ultra HD + Blu-ray + Digital

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Arrives Thursday, Oct 31
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Format: 4K August 27, 2024


Description

Ryan Gosling stars as a Hollywood stunt driver for movies by day and moonlights as a wheelman for criminals by night. Though a loner by nature, “Driver” can’t help falling in love with his beautiful neighbor Irene (Carey Mulligan), a young mother dragged into a dangerous underworld by the return of her ex-convict husband. After a heist goes wrong, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). Soon he realizes the gangsters are after more than the bag of cash and is forced to shift gears and go on the offense.

Genre: Action, Thriller


Format: 4K, Subtitled


Contributor: Michel Litvak, Adam Siegel, Marc Platt, Linda McDonough, Carey Mulligan, Bryan Cranston, Albert Brooks, Christina Hendricks, Bill Lischak, Nicolas Winding Refn, John Palermo, Gigi Pritzker, Bold Films; Marc Platt Productions, Ron Perlman, Ryan Gosling, Oscar Isaac, David Lancaster See more


Language: English


Runtime: 1 hour and 40 minutes


MPAA rating ‏ : ‎ R (Restricted)


Package Dimensions ‏ : ‎ 6.7 x 5.3 x 0.5 inches; 7.04 ounces


Director ‏ : ‎ Nicolas Winding Refn


Media Format ‏ : ‎ 4K, Subtitled


Run time ‏ : ‎ 1 hour and 40 minutes


Release date ‏ : ‎ August 27, 2024


Actors ‏ : ‎ Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman


Dubbed: ‏ ‎ Spanish


Subtitles: ‏ ‎ English, Spanish


Producers ‏ : ‎ John Palermo, Michel Litvak, David Lancaster, Linda McDonough, Adam Siegel


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Top Amazon Reviews

    • THE BEST FILM OF 2011.
In this day and age of disposable $100 million films, and films working ridiculously hard on creating not much more than a strong opening weekend, many filmmakers and film audiences forget that like all forms of art, cinema has its own language. What takes five paragraphs to write in a book can be shown in five seconds of a film, and the same works in reverse. Also in this day and age, films tend to get pigeon-holed into three categories; the first two being the most immediately recognizable: The Popcorn-Munchers and The Oscar-Bait. They're easy to recognize. The third are what I refer to as The Dump films. Basically, these are films that will get a wider audience than a limited-release film, but they're generally released in the weakest parts of the year with no expectation of big box-office or great critical acclaim; months like September, most of October, January and February are loaded with Dump Films, so it was no surprise to me that a film like Nicolas Winding Refn's DRIVE was released in September. It was a film with actors rather than stars, and a film that was more of a throwback to the great psuedo-independent crime thrillers of the 1980's (such as MANHUNTER and THIEF, both of those films from Michael Mann who also helped to define TV in the 80's with MIAMI VICE and CRIME STORY, and TO LIVE AND DIE IN L.A. from Mann's fellow Chicagoan William Friedkin) rather than the high-octane FAST AND FURIOUS flash-over-substance film that one very disgruntled audience member thought it would be and took her outrage to unintentionally satirical heights by suing DRIVE's distributor for the cost of her ticket as well as asserting the film also had Anti-Semitic views and still intends to file a class-action suit against "false advertising". I include this anecdote mostly because I think the gall it takes to do something like this is beyond astounding, but also because I believe this woman represents most of the viewing public who saw this film. Looking at the public's reviews of this film, it's very much a love-it-or-hate-it film. Many viewers assail the film for being too slow, too boring, and even in some cases, too graphic. Critical acclaim has been nearly universal for the film. It was one of the best reviewed films of 2011 alongside films like THE ARTIST and THE MUPPETS, but not as successful as either of those films, commercially or Oscar-y. The reason being that DRIVE is not a safe film. There isn't a moment that is antiseptic or commercial. It's not meant for mass consumption, and perhaps that explains its own devisive nature as a film. But DRIVE is not afraid to put some of the onus on the audience and tell us, quietly, to expand our ideas of what a great film is and how not only can a picture be worth a thousand words, but a glance or look can be worth a thousand emotions, and the harshness of a sound can be predicated on the silence that precedes it. Without going too much into plot or character, it's important to give credit where credit is due. Ryan Gosling, the too-dreamy-for-words heartthrob of films like THE NOTEBOOK and CRAZY STUPID LOVE who is also the risk-taker of HALF-NELSON, THE BELIEVER, LARS AND THE REAL GIRL and THE IDES OF MARCH, is perfect as the nameless super-anti-hero of the piece. Every look, every glance, every gesture has purpose. The greatest acting talents are the performers who can speak volumes just by saying nothing at all, and this film is loaded with those performers. I call Gosling's character a super-anti-hero because there is something superhuman about this character. He can do just about anything he wants physically, and he can survive just about any assault, except for the emotional. And that's where Carey Mulligan comes in. Mulligan is by far one of the greatest young actors out there. She first really showed us that in AN EDUCATION, and continued to show it in NEVER LET ME GO, SHAME, and this film. She is picture-perfect innocence. You want to protect her, and you understand The Driver's urge to do so. Bryan Cranston, with the introduction of BREAKING BAD a few years ago, has been a revelatory performer. Who knew the dad on MALCOLM IN THE MIDDLE would be one of TV's best serious actors? Not me. And his performance as the other half of the partnership with Gosling is small yet shining. Oscar Isaac as the doomed husband of Mulligan's character plays his ex-con with an immediacy and desperation and sense of inevitability. Ron Perlman as the small-time thug with delusions of grandeur is just pitch-perfect, proving once again that Perlman is a seriously underrated actor. Christina Hendricks is sultry, sexy and that's really all her role requires, which is sad, because I love her. However, the film, from a performance standout, belongs to Albert Brooks. We're used to Brooks playing the nebbish, awkward yet smarter-than-you character. We've seen it since MODERN ROMANCE, and through LOST IN AMERICA, BROADCAST NEWS and others. For Brooks to turn that image on its head and play the lethally efficient and pragmatically violent small-time crime boss Bernie Rose is beyond inspired casting, and the performance he turns in is as strong and chilling as seeing someone like Pacino or De Niro play a similar role. He was nominated for a Golden Globe for Best Supporting Actor but not for an Oscar. In fact, infuriatingly, DRIVE was only nominated for one Academy Award: Best Sound Editing, which if you watch the film closely, it REALLY deserves, but it lost to... whatever; probably TRANSFORMERS or something. The other shining star of this film is director Nicolas Winding Refn. Being somewhat unfamiliar with his work prior to this film, I tried to watch the ultra-surreal BRONSON with Tom Hardy, and couldn't get through it from a narrative standpoint but appreciated its bravura. I haven't seen his other film, VALHALLA RISING yet, but plan to watch it very soon. It's probably more his film than any of the performers: His use of every element of the language of cinema is so deftly handled, from the sound to the picture to the editing to the performers, he achieves cinematic perfection. The film works on every level it's supposed to: Crime Thriller, Fairy-Tale Romance, Emotional Drama, Anti-Heroic Action, it does it all flawlessly. Another unsung hero of this film is Cliff Martinez, who does the Tangerine Dream-esque score for the film as another nod to those classic 80's thrillers. The simple fact of DRIVE is that this film was the purest expression of the language of cinema that came out of 2011. It never missed a moment to capitalize on that language, and it speaks it fluently and perfectly. This is, hands down, the best film of 2011. ... show more
Reviewed in the United States on March 29, 2012 by The Blue Thunder Bomb
    • Blu ray Update for one of the best movies of the year
I was expecting a good movie but nothing like this. Danish director Nicolas Winding Refn delivers his first American film and boy does he deliver. Ryan Gosling continues his launch to superstardom as a part time movie stunt driver which supplements his day job as a mechanic. He also spends a few nights driving a getaway car for nefarious types. Carey Mulligan plays his shy, but clearly interested neighbor, who lives with her young son. Her husband, Standard is about to be released from prison. But let me not get ahead of myself. The story isn't that important. We've seen it before and will certainly see it again. What is important is the style and abdication of the traditional action thriller. The opening of the film has "Driver" (he has no other name) working with a couple burglars in the middle of the night. When the cops are called, he monitors their communication on a police scanner. This is where most movies activate the car chase sequence. Refn does the scene in cat-and-mouse, hide-and-seek style. It's brilliant as is the photography of a wet but brightly lit city. Throughout the movie, Refn and his musical director layer a soundtrack reminiscent of Tangerine Dream or something from Giogio Moroder. There is nothing familiar about the music. I suspect it is Euro in its origins. It is perfectly placed each time. Back to Irene and "Driver". There is a scene when they first meet. Both are very quiet as is the whole movie. They don't talk much. But when they look at each other, you can see the quiet begin to smolder. It doesn't explode, but the attraction isn't hidden. When Standard (never heard that name before) is released and comes home, again we expect a traditional confrontation between him and Driver. Instead, Standard (Oscar Isaac) is very understanding. He has debts, however and Driver offers to help him pull of a heist of a pawn shop. It doesn't go well. Let the violence begin. Like many brilliant movies (Taxi Driver, Godfather, Goodfellas), the violence becomes the antithesis of the quiet tone of the film. It is quick but extremely graphic when it comes. One of the great things about this movie is that it surprises at every turn. The tension grabs you early and rarely releases. It is not like a traditional thriller, where the action delivers the tension, then you rest when it's over. This movie surprises, so you're never quite sure what will happen next. At the same time Refn creates tenderness between the characters, especially between Driver and Irene, between Standard and Irene and between Driver and his mentor Shannon (Bryan Cranston). Comparisons between Gosling's character and those created in the past by Clint Eastwood and Steve McQueen are valid. I would also be remiss by pointing out the role of Bernie, the local mobster honcho played by Albert Brooks. The comedian gives the film yet another pleasant surprise. "Driver" succeeds on many levels. It is an elegant, violent and cool art-house thriller. And the best new movie I've seen this year. 2-1-12 - Blu ray update: This second helping on the just released Blu ray solidifies my original observations. These subsequent viewings of great movies allow you to focus on things you might have missed the first time around...or just want to see it again. Since I now know the plot (or at least think I do), can I find answers of confirm previous beliefs? The story itself is as old as mythology. Remember "Camelot" or at least the tale of King Arthur and his Queen Guinevere and the knight Lancelot? The attraction between Guinevere and Lancelot is evident, but both want to remain loyal to their King who they love. Here we have Standard who is married to Irene. By all accounts, although he made a mistake, he is otherwise a good guy. The initial attraction between Irene and Driver smolders as they don't want to hurt Standard. Their relationship is chaste but knowing he may be killed or at least leaving town, Driver acts on that attraction in the elevator. In one of the best scenes in recent memory, he plants a long kiss on Irene. Not one of those sloppy, all-over-your-face, tongue-in-mouth kisses but one of those real kisses like Cary Grant planted on Ingrid Bergman in "Notorious." This tender moment precludes a deadly confrontation with a hired killer in the same elevator. This movie is scant of dialog. Instead the actors, especially Ryan Gosling and Carey Mulligan must perform with their eyes, their faces and their gestures. The 3 "car chase" sequences are all different but they are expertly done and remain great moments in the film. Albert Brooks should have been nominated for an Oscar for his performance as Bernie Rose. The soundtrack is perfectly layered. The Blu ray transfer is perfect. Much of the film is at night, so the blacks must be black and the room should be dark. The DTS-HD sound is magnificent and at its best during the car sequences. The rumbling of the engines via the woofers and subs adds another type of musicality. There are 4 supplemental featurettes with the producers, the director, the head stunt driver and all the primary actors except Ryan Gosling who is missing for some reason. ... show more
Reviewed in the United States on December 18, 2011 by M. Oleson

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