---
title: "Drive"
year: 2011
kind: "film"
canonical: "https://film.one/film/drive"
fi1m_id: "drive"
imdb_id: "tt0780504"
tmdb_id: 64690
wikidata_id: "Q732960"
fi1m_score: 83
critics_score: 84
critics_reviews: 16
published: "2026-09-15"
updated: "2026-09-18T08:38:36.947462+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Drive (2011)

Directed by Nicolas Winding Refn · 1h 40m · MPA R · Drama, Thriller, Crime

## Identity

Drive

- **Canonical:** https://film.one/film/drive
- **Type:** Film
- **Fi1m ID:** drive
- **IMDb ID:** tt0780504
- **TMDB ID:** 64690
- **Wikidata ID:** Q732960
- **Same entity:** https://www.imdb.com/title/tt0780504/, https://www.themoviedb.org/movie/64690, https://www.wikidata.org/wiki/Q732960

**Fi1m score: 83** · Critics 84 from 16 reviews

*In a sentence:* Ryan Gosling makes conversation look harder than a getaway

> *Drive* is a tense, carefully made crime thriller, with Ryan Gosling making silence count and Nicolas Winding Refn making violence hurt. The romance needs more from its writing, but the driving and the unease earn our recommendation.

## Synopsis

Ryan Gosling plays a Los Angeles getaway driver who says little and earns his living among dangerous men. A romance with his neighbour Irene (Carey Mulligan) brings a quieter possibility into a life shaped by cars and crime. Around them in the city are Shannon (Bryan Cranston) and the criminal Bernie Rose (Albert Brooks). The driver’s controlled manner sits uneasily beside the violence of the people he deals with. Nicolas Winding Refn directs, with a screenplay by Hossein Amini adapted from James Sallis’s novel.

## Review

*Drive* is a crime thriller we recommend, though its romance needs more than the screenplay gives it. Nicolas Winding Refn builds the film around a getaway driver whose skill at the wheel is never in doubt. Ryan Gosling barely speaks, and the film lets his stillness hold our attention without supplying much explanation. Refn is interested in how reassuring that control can look. He also wants us to notice the danger in trusting it.

We held our breath during the opening getaway, because Matthew Newman’s cutting keeps the driving clear without making the escape feel safe. There is pleasure in being able to follow an action sequence this closely. Each change of pace matters, and the editing gives us time to register it. Gosling’s restraint helps: his composure makes us watch harder for trouble. The film establishes its attraction to a man who seems to know exactly what he is doing.

Newton Thomas Sigel photographs Los Angeles in crisp digital images, using neon light to give the city an inviting sheen. It does not make the place feel friendly. Beth Mickle’s production design shares that retro polish, and the surroundings suit characters who have been stripped down to a few strong traits. Occasionally the look is so insistent that we start attending to it at the expense of the people. Mostly, though, these images make the quiet passages worth looking at.

Cliff Martinez’s synthesiser score gives those pauses a warmth that Gosling often withholds. Its electronic sound belongs with the retro imagery, but it also gives the quieter scenes some tenderness. This matters in a film whose central performance keeps so much to itself. Refn allows little comfort when the violence arrives. The abruptness hurts, and the graphic detail makes the handsome presentation difficult to enjoy without reservation.

Carey Mulligan’s Irene is where Hossein Amini’s screenplay most needs another pass. Mulligan gives the neighbour a gentleness that makes the attraction understandable, but she has too little room to become interesting in her own right. We can believe that Driver wants to be near her. It is harder to feel that we know her beyond what she offers him. The quiet between them sometimes feels intimate, and sometimes feels like dialogue nobody has written.

Albert Brooks, as the criminal Bernie Rose, makes the simplified characterisation work in his favour. He is menacing without needing to advertise it constantly, and his presence gives the film a threat beyond its leading man’s capacity for violence. In this kind of crime story, familiar types can be enough when the casting gives them weight. Brooks does that, while Gosling makes the driver’s reserve intriguing even when the script leaves it unexplored.

At 100 minutes, *Drive* has enough discipline not to wear out its welcome. It understands the appeal of watching someone do a difficult job well, and it delivers the tension that such a thriller owes us. The thin romance remains a real limitation. Watch it for the driving, the music and Gosling’s concentration, with fair warning that the violence is graphic.

*Fi1m score 83, published 15 September 2026.*

## What the critics say

Most critics greet Drive with strong enthusiasm, with praise centred on Gosling’s restrained performance and Refn’s control of pace, silence and sudden violence. The reviews repeatedly single out the neon-lit images, synth-led soundtrack and carefully staged getaways. Gosling’s ability to hold attention with little dialogue is a particular point of agreement, while several critics also praise the supporting cast. For its admirers, the familiar crime story feels fresh because of how precisely it is told.

Reservations concern thin characterisation, borrowed genre conventions and violence that some find damaging to the mood. The spread runs from wholehearted praise to a few mixed assessments, rather than broad disagreement about the film’s craft. The Hollywood Reporter finds the script threadbare and the action insufficiently thrilling; The Wrap admires the chases and Albert Brooks but finds the styling excessive. The main divide is over whether that style sustains the story.

## Straight answers

**Is Drive worth watching?**

*Drive* is worth watching for anyone who wants a tense, carefully made crime thriller, and we scored it 83. Ryan Gosling makes his silence hold the film, Matthew Newman's editing keeps the getaways clear, and Cliff Martinez's score gives the quiet scenes warmth. The romance with Carey Mulligan is thin, and the violence is graphic.

**How long is Drive, and what is it rated?**

*Drive* runs 1h 40m and is rated R by the MPA in the US. It is a drama and thriller film.

**Where can I watch Drive in the US?**

*Drive* is available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Drive, and is it suitable for children?**

*Drive* is an 18 certificate in the UK and R-rated in the US, and it is not suitable for children. The violence arrives abruptly and in graphic detail, and the film makes it hurt rather than thrill. Squeamish adults should know the handsome look does not soften what happens on screen.

**Is Drive based on a true story or a book?**

*Drive* is based on a novel by James Sallis, not on a true story, with Hossein Amini adapting the screenplay. Our review does not measure how closely the film follows the book, and knowing the source is not needed to follow it. The getaway driver, his neighbour Irene and the criminals around them stand on their own.

### Reviews we read (18)

- **Empire**, Adam Smith (5/5): The critic celebrates Refn's gripping, stylish neo-noir with its mid-80s aesthetic, masterful editing in the opening getaway, gorgeous cinematography, and Gosling's cool, starmaking performance channeling Steve McQueen, calling it shamelessly disreputable ultra-violent fun. [Read](https://www.empireonline.com/movies/reviews/drive-review/)
- **The Guardian**, Peter Bradshaw (5/5): The critic praises Refn's stylish, lyrical Hollywood noir as one of the year's most impressive American pictures, highlighting its intense yet poetic violence and strong performances. Gosling is singled out for his charismatic, understated lead turn as the taciturn driver. [Read](https://www.theguardian.com/film/2011/sep/25/drive-ryan-gosling-film-review)
- **The AV Club**, Scott Tobias (A): Celebrates the film's lean, efficient minimalist thriller style as a powerful reminder of genre potential when every element serves a purpose; highlights its mythic, stylized take on fast cars and dangerous men. [Read](https://www.avclub.com/drive-1798169604)
- **Total Film**, Jamie Graham (90/100, inferred): The review highlights the film's fresh take on archetypes through clashing moods, Gosling's mesmerising laconic turn evoking classic cool icons, and Refn's dynamic direction blending lush visuals with sudden violence, calling it both archetypal and fresh. [Read](https://www.gamesradar.com/drive-1-review/)
- **Evening Standard** (85/100, inferred): The review lauds the film's concentrated, relentless forward momentum and myth-making quality as a modern fairy tale, highlighting Gosling's riveting star-making turn with its dynamic between stillness and explosive violence, and Refn's stylish direction. [Read](https://www.standard.co.uk/culture/film/drive-review-7426791.html)
- **Little White Lies**, Matt Bochenski (5/4/3): Refn reimagines pulp noir as a violent fairy tale with stunning synth score, crisp digital images of LA, and a transformative performance from Gosling as the taciturn Driver. The film escalates from quiet romance to ecstatic violence but loses some empathy in its later psychotic turn. [Read](https://lwlies.com/reviews/drive)
- **Slant Magazine**, Jaime N. Christley (80/100, inferred): Notes the impressive action set pieces and Refn's homage to classic driver films like Walter Hill's The Driver; singles out the visual rhythm, patient tension-building, and strong supporting performances for praise while noting some scripting issues with character relationships. [Read](https://www.slantmagazine.com/film/drive/)
- **Time Out**, Tom Huddleston (4/5): Drive is a self-consciously slick, synth-scored throwback built on familiarity, with neon lights, screeching tyres, brooding Gosling and strong supporting turns. It never drags and delivers a pulse-pounding, beautifully crafted and shiny riff on old material. [Read](https://www.timeout.com/london/film/drive)
- **Sight and Sound**, Wally Hammond (70/100, inferred): Refn's Drive is a satisfying neo-noir getaway-driver movie with strong chase sequences, atmospheric visuals and music, and a cool central performance from Gosling. It is classically derivative and Refn's most anonymous film to date, though it fits his talents well in its nihilistic world of tough guys and mean machines. [Read](http://old.bfi.org.uk/sightandsound/review/6500)
- **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): Praises the atmospheric, off-center crime drama and strong cast led by Gosling, but finds the script threadbare and the action sequences not sufficiently thrilling or genre-maximal. [Read](https://www.hollywoodreporter.com/news/general-news/drive-movie-review-ryan-gosling-190649/)
- **The Independent** (3/5): The critic praises Gosling's charismatic, cool performance as the laconic driver and Refn's stylish neon-noir direction with its 1980s influences, but notes the film's increasing pulp violence and finds the neighbour character somewhat wet. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/drive-18-crazy-stupid-love-12a-3-5-2-5-2359687.html)
- **Los Angeles Times**, Kenneth Turan: The critic finds the film's neo-noir style and visuals appealing but notes that its graphic violence clashes with the traditional mythology and dilutes the mood. Albert Brooks stands out in a supporting role as a menacing criminal. [Read](https://www.latimes.com/archives/la-xpm-2011-sep-16-la-et-drive-201110916-story.html)
- **Variety**, Peter Debruge: The review highlights the film's sleek retro style and thrilling set pieces as fresh takes on the heist genre, praising Gosling's stoic performance and Refn's direction. It notes some weaknesses in character depth but overall delivers guilty-pleasure entertainment. [Read](https://variety.com/2011/film/reviews/drive-1117945274/)
- **Den of Geek**, Ryan Lambie (5/5): The critic calls it an exemplary movie that satisfies as both a genre thriller and an unusual, individual piece of filmmaking. Praises the expert casting (especially Gosling), Refn's direction that contrasts abrupt violence with silence, and the way it fulfills thriller duties while remaining arrestingly original. [Read](https://www.denofgeek.com/movies/drive-review/)
- **HeyUGuys**, Emma Thrower (5/5): The film is a modern masterpiece that is visually stunning and magnificently brutal, with a haunting quality that draws viewers in through its confident direction and use of silence. The critic singles out the electrifying soundtrack as central to the film's emotional power and Ryan Gosling's mesmerizing, dialogue-light performance for its ability to convey depth through expression and presence. [Read](https://www.heyuguys.com/drive-review/)
- **Collider**, Matt Goldberg (A): The critic calls Drive a magnificent reinvention of the action-crime genre that works across time and genre boundaries through strong performances and gorgeous cinematography. Ryan Gosling delivers a career-best performance as the laconic protagonist while Albert Brooks is tremendous as a beguiling and ruthless villain. [Read](https://collider.com/drive-movie-review/)
- **Digital Spy**, Simon Reynolds (90/100, inferred): Describes it as an outstanding Los Angeles-set thriller and possibly the best movie of 2011, with Gosling and Refn forging a totally in-sync partnership. Singles out Refn's assured stylistic flair, precise car chases, tonal switches between emotion and violence, and the pulsing soundtrack. [Read](https://www.digitalspy.com/movies/a336065/drive-review/)
- **The Wrap** (45/100, inferred): The critic finds the film stylish but overburdened by excess, praising the chase scenes and Albert Brooks' performance while complaining about over-the-top aesthetics. [Read](https://www.thewrap.com/right-turns-and-wrong-turns-make-drive-go-circles-30991/)

## Details

- **Director:** Nicolas Winding Refn
- **Director:** Nicolas Winding Refn
- **Screenplay:** Hossein Amini
- **Novel:** James Sallis
- **Cinematography:** Newton Thomas Sigel
- **Editor:** Matthew Newman
- **Music:** Cliff Martinez
- **Production design:** Beth Mickle
- **Costume design:** Erin Benach
- **Producer:** Marc Platt, Adam Siegel, John Palermo
- **Cast:** Ryan Gosling as Driver; Carey Mulligan as Irene; Bryan Cranston as Shannon; Albert Brooks as Bernie Rose; Oscar Isaac as Standard; Christina Hendricks as Blanche; Ron Perlman as Nino; Kaden Leos as Benicio
- **Runtime:** 1h 40m
- **Certificate (MPA):** R
- **Release (the US):** 16 September 2011
- **Genres:** Drama, Thriller, Crime
- **Also in:** [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2011)
- **Budget:** $15 million
- **Box office:** $80 million
- **Trailer:** https://www.youtube.com/watch?v=3pcSKar9O8A

## Where to watch in the US

- Amazon Prime Video: rent $3.99, hd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $7.99, hd
- Apple TV: buy $7.99, hd

*Checked 2026-09-15.*

Also available in: AT, AU, BE, CA, CH, CZ, DE, DK, ES, FI, FR, GB, IE, IT, KR, NL, NO, NZ, SE, UA, US. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2012: Best Sound Editing (nominated)
- Amanda Award for Best Foreign Feature Film 2012: Amanda Award for Best Foreign Feature Film (won)
- César Award for Best Foreign Film 2012: César Award for Best Foreign Film (nominated)

## If you liked this

- *The Driver* (1978): A terser account of getaway work, with the driving doing the talking.
- *Le Samouraï* (1967), Fi1m 88: A solitary criminal and exact, patient filmmaking, with even less comfort on offer. — [Fi1m page](https://film.one/film/le-samourai.md)
- *Thief* (1981): Night-time crime, electronic music and a professional whose private hopes complicate the job.
- *Sonatine* (1993): Quiet stretches among dangerous men make the sudden violence harder to shake off.
- *A Bittersweet Life* (2005): For more immaculate criminal manners, uneasy tenderness and violence that refuses to stay tidy.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/drive