Drive is a polarizer. It's also pure cinema, a grenade of image and sound ready to blow.

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Most important, like Clooney's best movies, "Drive" features a compulsively watchable cipher at its center.

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One thing's certain, the combination of car-thrills, an excellent synth-pop soundtrack, great performances and the juxtaposition of beauty and shocking violence, ensure that Drive will become an instant cult-classic.

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The plotting involved in this titanic confrontation is dense, but made to seem elementary, and the major setpieces rip through the moody atmosphere like a thunderclap.

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Drive is one of the most creative, designed flicks crafted in recent years; it steps on the gas and lets the engine roar as loud as possible from start to finish.

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Summer’s almost over, but here’s its most perfect bit of entertainment.

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Driver’s preternatural sense of calm behind the wheel — a toothpick perches delicately between his lips — is a little like Fred Astaire’s dancing: He makes it look like it’s nothing.

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Drive Delivers

I loved Drive, and I think you might too. Tense, well-acted, well-conceived, and well-executed, Drive is a pretty good example of what happens when exceptional skill meets opportunity.

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Drive is an exhilarating ride where the thrills are as raw and intense as the emotions.

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One for fans of Taxi Driver and TV's Dexter, Drive is a film whose considerable style at first obscures just how much it'll get under your skin and stay there for weeks to come.

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Pedal to the metal

Hold on tight and prepare for the ride of your life.

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Review without score. The score is calculated by the review's remarks.

This may be Refn’s best work yet, and will earn him a few more admirers for what is going to be a fast-expanding fanbase, should he keep crafting cinematic experiences that are this good.

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The "Half Nelson" star and a Danish director not named von Trier captivate Cannes with a red-hot L.A. heist movie

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'Drive' fires on all cylinders

This slick, shockingly combustible and deeply romantic dream picture is definitely some kind of wonderful.

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Review without score. The score is calculated by the review's remarks.

Refn, who strode to international recognition with Bronson, which featured a stunning performance by Tom Hardy, brings a European sense of style to Drive

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Drive has an almost moralistic fairy-tale quality amid the graphic violence.

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But Drive belongs to Gosling, whose performance is as memorable as his portrayal of a frustrated husband in Blue Valentine, only this time he relies primarily on silence.

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Tense car chases, action scenes handled with crisp panache and Canadian actor Ryan Gosling channelling Steve McQueen as an existential wheel man add up to make Drive one of the best arty-action films since Steven Soderbergh's The Limey.

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"Drive" looks like one kind of movie in the ads, and it is that kind of movie. It is also a rebuke to most of the movies it looks like.

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Nicolas Winding Refn’s “Drive’’ is a work of swift, brutal violence, but it’s not the violence - a viciously stomped head, say, or the way a shotgun blast sounds like a bomb - that’s sexy.

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If you love big dumb action movies only then DRIVE is not your cup of tea- everyone that's left that loves more subtle action films with bursts of insanity then it's right up your ally.

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Review without score. The score is calculated by the review's remarks.

The screenplay, written by Hossein Amini and based on a book by James Sallis, is taut tough-guy stuff, but it plows into a wall of senseless noir clichés in the final minutes. It doesn't ruin the movie, but it sure doesn't help it.
Helping it immensely are the actors. This is really an art house action movie, certainly not your typical shoot-'em-up, so wouldn't you know the talented and idiosyncratic Gosling would choose it for a move into a tough guy role? Mulligan is as tender as ever, and while Brooks is rightfully garnering big praise for his gangster role, Perlman is right there with him.

Rated B for strong brutal bloody violence, language and some nudity

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There are more than one score, we present their average.

When talking about Drive, Gosling readily explains that, attracted to the script and jazzed by Refn's previous work, he personally sought out the director for the job

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But as the film accrues intensity and awakes the demon lurking inside its protagonist, you can see it as something more than a retro-cool crime story.

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Ultra-violent, ultra-stylish, petrol-headed entertainment with enough arthouse flair to keep it interesting. Go watch it. But don't expect Fast & Furious 6. And don't take the kids.

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Review without score. The score is calculated by the review's remarks.

All right, first: everybody calm down. Drive is good, it's very good. It's slick and never boring...but for me it lacks the emotional heft to elevate it from "gem" to "masterpiece."

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A skilful blend of stealth and shock

Drive may be too slow and arty to set the multiplex box offices on fire, but it deserves to become a cult classic.

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Drive (FilmDistrict*), the eighth film by the Danish director Nicolas Winding Refn, enters the viewer like a sharp unseen blade.

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For all the movement in "Drive," the quiet, deathly still moments are the ones that count.

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Tasty, if sketchy, modern noir with car chases and bloody action that should turn the trick for genre-seeking audiences.

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..even the look of Drive's title card – a cursive scrawl the hot pink of discount-bin lipstick – feels like a come-on. I can't remember the last time I felt so seduced by a film.

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Drive dynamically merges a terrific film noir plot with a cool retro look, evoking '60s classics like Point Blank and Bullitt.

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For audiences looking for an ice-cool, uncompromising and gut-wrenching pulp thriller, the search ends here.

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There are more than one score, we present their average.

“Drive” is somber, slick and earnest, and also a prisoner of its own emptiness, substituting moods for emotions and borrowed style for real audacity. This is not to say that the movie is bad — as I have suggested, the skill and polish are hard to dispute — but rather that it is, for all its bravado, timid and conventional.

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Review without score. The score is calculated by the review's remarks.

Think of "Drive" as the cinematic equivalent of riding in a car that projects a fashionably stylish image.

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“Drive” marks the first occasion on which Refn has shot a film in America, and, like countless outsiders before him, he casts an eye that is at once entranced and stunned. By his own admission, though, he doesn't have a license, and it shows. The man behind “Drive” can't drive.

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Review without score. The score is calculated by the review's remarks.

"Drive" is a Los Angeles neo-noir, a neon-lit crime story made with lots of visual style. It's a film in love with both traditional noir mythology and ultra-modern violence, a combination that is not ideal.

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Review without score. The score is calculated by the review's remarks.

In reworking genres without quoting shamelessly, Refn proves himself his own man and a guy quite capable of taking us places we didn't even know we wanted to go.

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Drive, for all its aesthetic bells and whistles, its slo-mo raptures and hipster sound design, is really the same old same old.

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Nigel Andrews reviews ‘Drive’ by Nicolas Winding Refn, ‘Crazy, Stupid, Love’ by Glenn Ficarra and John Req

The style, put simply, is blood. Lots of it.

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Drive is a movie with power but is still directionless; the acceleration is great, but the steering needs looking at.

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