Highly entertaining neo-noir. The silent driver, the badass cop and the french femme fatale in a classic car-chase that often evokes the late Melville. So dry and right on the nerve it seems everything that was not essential got cut (including dialogues). You rarely see a genre film with such a strong identity.
This is one of the most badass films ever made and a far superior film to Drive. Ryan O Neal gives the performance of his career and barely says a word. Isabelle Adjani is as beautiful as ever as the femme fatale of this picture. And not to mention Bruce Dern's gruff police detective. Movies don't get more badass than this one.
Cool movie with riveting car chases and great visuals. The story is not that exciting and the acting is a bit uneven as is the dialogue. There is much to admire here in terms of mood and style but it feels like the movie is sort of half done in the script department. Gonna watch it again though sometime to give it another go.
This was a lot sillier than expected. Bruce Dern really hams it up at times and I find some of the dialogue a tad ridiculous. It does have its positives; the film's style paying homage to Edward Hopper creates this really beautiful world. I love when films put a lot of effort into creating an atmosphere. The soundtrack is also great. The ending, however, was illogical and disappointing - I wanted to see Dern win.
Apparently there's an original cut that's supposed to be 30 minutes longer, and i just feel it's what this movie needs to pass from a masterpiece in action film to just simply a masterpiece. But, i don't think anybody did car chases better than Walter Hill here, i mean red pick-up truck and Adjani on the passenger seat, you just can't beat that.
Primo poliziesco di Hill e grande saggio di regia e tensione narrativa.Si notano le atmosfere notturne che poi esploderanno in Warriors,così come l'abilità nell'action,nell'introspezione e nello script dei personaggi.Ambiguo e affascinante,sembra un trade-union tra lo stile '70 e quello '80,poichè mescola alla grande la notte e quegli ambienti criminali che domineranno un decennio. Un grande cult,indubbiamente.
Ryan O'Neal's sad eyes are the center of The Driver, undercutting the exciting car chases and suspenseful intrigue with a vague, unspecified tragedy. Like other 70s genre films, The Driver's visual tone is a bit too dark and static for my taste, but Hill creates a fascinating world of professional hustlers, stripped of their identity or desires, defined only by their actions.
This is one of the coolest movies I've seen. And I've seen Daddy Day Care twice so my word means something. Also, if you didn't like Drive, watch this. It's the original and has better chase scenes, though it does lack Gosling abs and Hendricks curves.
Lean efficiency is the hallmark of Walter Hill's sophomore effort, THE DRIVER, a taut chase thriller about a getaway driver who is constantly pursued by a relentless cop. A spiritual predecessor to DRIVE, Hill strips down his characters to their bare essence, whittling each one down to their most essential elements - their purpose, in a world where one's profession means everything.. A remarkable film.
It's clear that Heat and Drive have The Driver as an ancestor; similarly, this feels like an update of Le Samouraï. And while I didn't enjoy it as much as Melville's fine film, there's more than enough to sate the appetite. In particular, the car chases are fantastic and the last fifteen minutes are intense.