Refn hadn’t done a whole lot before DRIVE, his major claim to fame being Tom Hardy’s BRONSON. Granted, grounded Wright is still totally awesome and better than other directors by miles. It’s his most grounded effort, but I’m not sure if I love grounded Wright like I do the absurdly unique Wright from earlier films. But it’s all simple to a fault: though the chemistry is undeniable, I found more complexity in relationships in Wright’s other efforts like SCOTT PILGRIM and even the bromance in HOT FUZZ/SHAUN OF THE DEAD, etc. Wright wrings so much chemistry out of Elgort and James and loves to keep things intimate between the two. At its core, this is a sweet tale about a boy who likes a girl and has to overcome breathtaking odds to be with her. It’s in all the above where Wright demonstrates his ingenuity, however, as for everything else, it’s not his best film. This gives the movie such a powerful, funky personality. On top of that Wright blew most people away with his idea to pace the movie’s rhythm to Baby’s music. As I’ll get into a bit later, Wright does a great job with the action scenes here and makes the most out of the streets of Atlanta, showing Baby turning the city into his own private race track.
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