Drive (+ UltraViolet Digital Copy)

Es un estupendo producto, contiene: 1 disco Blu Ray Audio original en ingles 5.1 DTS Subtitulos en español únicamente Extras Cómo se realizó the driver I driver the driver Under THE hood story es muy recomendable para la colección, el envío como siempre excelente, gracias

Lo principal que hay que destacar con esta edición, además de la gran calidad de video y audio, es que la imagen está completa a diferencia de la edición nacional (en México) donde cortaron (o "cropearon") la imagen para encaje en el "widescreen" convencional (lo cual me parece un insulto al trabajo que le dieron a la foto y color de la película)... sin contar que no trae extras... que decir también que no trae tantos extras esta edición de importación -pero trae un pequeño detrás de cámaras algo ilustrativo que ya es bastante en comparación- y tampoco cuenta con doblaje (por si tienen la duda). Con respecto al envío llego en buenas condiciones y bastante rápido

This movie is awesome! In Mexico it was edited by Videomax, but the OAR is incorrect, thats why I've had avoid that edition. When I saw this another one I cant take off my eyes of it. The image and sound its perfect, the music wow, what else I have to say? Buy it. Esta pelicula es asombrosa saben, En Mexico fue editada por la distribuidora Videomax, pero el Aspect Ratio original es incorrecto, y por eso he evitado comprarla. Así cuando vi esta otra edicion no pude quitarme la idea de conseguirla. La imagen y el sonido son perfectos, la musica es genial, bueno que mas decir? Recomiendo conseguir esta edición.

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.

結論から言ってしまうと、ストーリーは使い古された内容なのですが、その魅せ方が素晴らしくて大好きな映画になりました。カッコ良さに憧れて真似したくなる感じ。ロッキーとかジャッキー・チェン、今なら不良映画を見た後みたいな感覚。とりあえず1973年型のマリブの中古が流通してるか調べましたよ。 主人公の愛車はこのマリブ。1973年だからオイルショックでマッスルカーの牙は抜かれ、安全基準が変わって５マイルバンパーの装着が義務づけられて醜悪なスタイルに変わり始めた頃。1970年に誕生したCHEVROLETのMONTECARLOはラグジュアリーパーソナルクーペってジャンルを確立して人気を博したのですが、その生産は1972年まで。マッスルカーはエモーショナルなスタイリングでしたが、モンテカルロはスクエアーなフォルムで大人っぽい雰囲気でした。CHEVELLのグレードの一つだったMALIBUはその前から存在していますが、モンテカルロの生産終了を受けてそのスクエアーなフォルムを受け継いだように見えます。 この頃のアメリカ車は過渡期で豪華ないかついグリルと尻下がりのエレガントなテールがアンバランスで最近、妙に気になるジャンルなんですよ。フロントマスクはカッコ悪ければ悪い程、テールの美しさが際立つ。ですからテールランプの美しさには拘りますよ。グラントリノなんかも同じジャンルですね。この雰囲気のクルマをダラッと下駄にするのってカッコイイなーと思っています。このクルマを主人公に乗せた。それだけで世界観の好みが重なった！と思えました。 Driveのマリブはサフェーサーボディーでかなり見た目はやれていますが、ホイールはドラッグライトで室内の計器類の数からして、きっとエンジンはチューニングされているんだろうと想像出来ます。スリーパーなんだろ？ってね。主人公の性格をクルマのチョイスで見事に語っています。決して「俺のクルマは○○馬力で○○○キロ出るぜ！」なんて言いません。それがこの映画の魅力の１つであると言ってもいいでしょう。 映画全編を通じてセリフは少なめです。登場人物はそれなりに出てきますが、自分の感情をストレートに表すような野暮な事はしません。主人公が一度だけ感情を口にするのですが、その時は物語の中で凄い重要な展開がおこります。見事な演出です。字幕だらけのテレビや何でもセリフで説明する橋田壽賀子的日本映画やドラマに嫌気がさしている人は絶対にやられるはず。 「こんなはずじゃなかったのに・・・」それぞれの登場人物が葛藤を抱え、それでも未来に向けて進もうとしているのに、何故か違う所へストーリーは展開してしまう・・・そんな微妙な表現を野暮なセリフなしでタイトに訴えかけてくる。もう最高です。 主人公は修理工場で働きながら映画のカースタントで生計を立てる無口な男。しかし、夜の顔は犯罪行為の「逃し屋」。その逃し屋のシーンから始まるのですが、その魅せ方がまた上手い。タクシーやワイルドスピードなら派手なカーチェイスを俯瞰で撮影して倍速→スローモーション→倍速→ドカーン！みたいにやりますよね。それはそれで楽しいのですが、こいつはほとんど後部座席からのアングルで進行します。そう、「逃し屋」に逃してもらう犯罪者の視点なんですね。それで、警察車両を鮮やかなドライビングテクニックで撒くのかと思いきや、警察無線を傍受しながら、時には路上駐車のトラックの後ろにエンジンを切って隠れたり、ヘリのサーチライトからは橋の下に潜ってやりすごしたりします。映画内でのリアリティーが徹底して追求されていてドキドキします。もちろんそればっかりじゃなくて、ドライビングテクニックを俯瞰で魅せるシーンもあるのですが、意図的に制限した冒頭のシーンは凄いと思いました。 修理工場のシーンも何もかも外してないんですが、唯一オーバルコースを走って実力を魅せるシーンがイマイチだったかなと思いますけど・・・。 納得の伏線回収も心地よく、終わりの余韻の付け方も完璧。懐かしいエレクトリカルポップや冒頭に流れるピンクの文字フォントもはまってて世界観に浸るのが気持良過ぎる！バイオレンスシーンも結構エグイので（R-15）これが苦手な人はちょっとキツいかもしれませんけどね。 監督は車の免許を持っていないとか。だからこそこの表現が出来るのかもしれませんね。いやぁー、参りました。