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Even if you think youвЂ™ve read everything you can stomach about вЂњ The Social NetworkвЂќ at this point, Fincher still offers up a few choice, provocative quotes about his Oscar contending film, saying that basically, critics who have fawned over his movie have gotten it wrong and that even in his own estimation itвЂ™s just a вЂњmovieвЂќ not a вЂњfilm.вЂќ Well, attached to those photos is an eight page article about the career of director David Fincher, as well as a behind-the-scenes look at his upcoming adaptation of вЂњ The Girl With The Dragon TattooвЂќ. YouвЂ™ve probably seen the first official photos from W magazine of Rooney Mara as Lisbeth Salander that went around the internet earlier this week. BrooksвЂ™s diabolically nebbishy incarnation of corruption and venality.David Fincher Also Says Critics Are Wrong About вЂ The Social NetworkвЂ™ ItвЂ™s A вЂњMovieвЂќ Not A вЂњFilm,вЂќ Not Meant To Define A Generation

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CranstonвЂ™s wheezing, anxious loser Christina HendricksвЂ™s seething, taciturn underworld professional and above all Mr. And this is what saves вЂњDriveвЂќ from arch tedium: Mr.

To make the movie work on its own constricted terms, you need - beyond this girl and this guy, and the cars and the weapons - a colorful supporting cast.

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Her innocence is axiomatic and part of the reason the driver goes to such messianic lengths to protect her.

Irene seems like much too nice a person to be mixed up in such nasty business. MulliganвЂ™s whispery diction and kewpie-doll features have a similarly disarming effect. GoslingвЂ™s face and his curiously high-pitched, nasal voice make him an unusually sweet-seeming avenger, even when he is stomping bad guys into bloody pulp. Those are precisely what вЂњDriveвЂќ is missing, in spite of some intriguingly nuanced performances. Godard, to stick with relevant examples) genre can be a bridge between familiar narrative structures and new insights about how people interact and behave. In the hands of great filmmakers (like Mr. 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. вЂњDriveвЂќ is somber, slick and earnest, and also a prisoner of its own emptiness, substituting moods for emotions and borrowed style for real audacity. But this is not вЂњThe Big Lebowski,вЂќ which took such delight in its status as pastiche that it ended up in a zone of wild originality and real feeling. There is also one scene of pure automotive pleasure, when the driver takes Irene and her son on a cruise along the kind of concrete culvert that has often been used for car chases in the past.

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There is a bag full of money, a crosshatching of vendettas and betrayals, and an ambience of crepuscular Southern California anomie.

Winding Refn is a Danish-born director (вЂњBronson,вЂќ вЂњValhalla Rising,вЂќ the вЂњPusherвЂќ trilogy), some of whose earlier films have inspired ardent, almost cultish devotion in cinephile circles. The virtuosity on display is also the directorвЂ™s, of course, and that, for better and for worse, is pretty much the point of вЂњDrive,вЂќ the coolest movie around and therefore the latest proof that cool is never cool enough. Behind the wheel of a getaway car after an uninteresting, irrelevant and almost botched robbery, the driver glides past obstacles and shakes off pursuers, slowing down as often as he accelerates and maintaining a steady pulse rate even as the soundtrack winds up the tension to heart attack levels. The guy is Ryan Gosling - his character has no known proper name, and is variously referred to as вЂњthe driver,вЂќ вЂњthe kidвЂќ and вЂњhimвЂќ - and to watch him steer through Los Angeles at night is to watch a virtuoso at work. The car is, of all things, a late-model silver Chevy Impala, the kind of generic, functional ride you might rent at the airport on a business trip. In the brilliant opening sequence the formula seems to work beautifully. In this case all you need is a guy and a car. In his new movie, вЂњDrive,вЂќ Nicolas Winding Refn, in thrall to a later Hollywood tradition, tests out a slightly different formula. A long time ago, as a young filmmaker besotted with the hard-boiled pleasures of classic Hollywood, Jean-Luc Godard claimed that all anyone needed to make a film was a girl and a gun.

Drive 2011 ending