I hated Drive.

Albert Brooks was a horrible bad guy.

The song was especially horrible.

The fact that people liked it is horrible.

The fact that people like Ryan Gosling is horrible.

What is most horrible to me though, is that a little arthouse theater in Seattle, where once upon a time, I saw Zardoz, Valley Of The Dolls, The Masque Of Red Death, Faster Pussycat Kill Kill, In Cold Blood among others, decided to play Drive for like a week or two (I don’t remember precisely) while it was still running in other theaters (!!!), because they claimed it was being underappreciated.

Also, I barely noticed the violence. I was too busy cringing at everything else I guess.

Jesus…

jesus…

You know just the fact this is a Gosling flick and our thread has digressed to Ledger speaks volumes itself on the comparison. It occurs to me that there appears much to discuss about Ledger and little for Gosling.

I have seen Dark Knight a few times just to watch Ledger, he makes the movie for me without doubt and the performance is awesome, especially if you enjoy psychos as I do.

Going further I would argue that Ledger’s performances in Brokeback and Monsters Ball might allow a different depth, if for no other reason than his face isn’t buried in makeup and surrounded by gadgets and stunts. I wouldn’t sell him short, just recognizing that Batman is a vehicle and Ledger made it a memorable one.

In analyzing the narrative of Monsters Ball, which is incredible in my opinion, one can see how Ledger’s character is such an integral part of the story and film, and
he inhabits the role and gives it depth and dimension which enable the film to work at levels beyond just the print on screen. This is quality writing behind the quality performance. Of course Billy Bob’s performance opposite is excellent.

In his short career he contributed significantly and I think Monsters is one of the films Ledger can be proud of.

I think you’re selling Ledger short. That his performance came down to a “pained expression” makes it sound like he moped through his role. He probably was pained, but he channeled it into something else (into being a soulless nut), which is what good actors do.

Now, an actress like Paltrow; she mopes her way through things, and confuses it for depth.

Gosling looks like he’s trying too hard not to try too hard. In “Lars and The Real Girl” it seemed like he was struggling to keep a straight face and give this sleepy performance. The whole thing appeared somehow suppressed; and I don’t mean the genuine middle-American repression.

Maybe I’m overselling Ledger’s corpse, but I had the impression he could’ve developed many more memorable characters.

I mention DiCaprio to illustrate exactly that – a monopoly, and not just on Scorsese roles. Good roles are hard to find. I think Ledger had a face full of pained expression and no doubt that can be a huge asset. Still I believe you need more than an expression to create the depth you’re talking about; this art is about much more than facial expression of course. If Dark Knight weren’t a mega-budget action genre blockbuster of the year it wouldn’t have redefined anything. Money and hype defined the movie and Ledger went along for the ride. I agree the actors you mention are quality.

“Even DiCaprio”? For real? His bizarre monopoly on Scorsese roles makes me think (to paraphrase someone) he knows where the bodies are buried. IMO, he brings zero credibility to any performance. If Pitt is, by his own admission, a character actor stuck in a leading man’s body, then DiCaprio is a perpetual teen idol way over his head in roles outside his pay grade.

Look at actors like De Niro, D’Onofrio, or Day-Lewis (Pacino too, when he’s paying attention). They don’t even have to DO anything to be convincing. They can just stand there, and the terrible abysses of their expressions will say it for them. Di Caprio goes through all these histrionics, but he always sounds (and looks) like Arch Hall Jr.

Gosling could have a breakthrough role eventually. I’m just saying, so far he’s tried to challenge himself, but I think he plateaus quickly on depth and range. I could take or leave “The Dark Knight” (actually, I think it’s schlock), but that was the role that redefined Ledger’s career. Sure, it helped that he died immediately after, but he created this convincing character that went against decades of portrayals. His scarred, nihilist, sophist Joker made all previous ones look like total shit.

Sounds like Eileen probably isn’t/wouldn’t be a fan of Gaspar Noe movies.

I agree Gosling hasn’t had a groundbreaker, but how many of those ever get squeezed out of Hollywood anyway? Most will wait their whole lives for any role in a film that can really be called good – on either side of the camera.

Ledger as The Joker is a fine psychotic performance, but groundbreaking cinema?

I doubt Gosling is concerned with chasing down Ledger’s legacy or those of Marvin or Mitchum. If he is fortunate enough to earn a part in something strong we’ll see how he turns it.

Remember, there is a shortage of quality work out there – trash pays the bills in LA – and even guys named DiCaprio make their share of mediocre films.

There just aren’t that many to go around, that’s why the good ones are hard to find and harder to make.

I would see Drive based on both seeing Bronson and what you said about the film.

But I think you are confused. Is it a genre film that doesn’t transcend things? And if so, why don’t you like it?

You seem to contradict and confuse yourself between the beginning and end of your review.

Stop thinking so much.

And Contagion really sucked. Horrible. Three Thumps Boooooring! And Stupid.

There’s way more noise from horny chicks than anyone else. Maybe he’ll surprise us, but so far he hasn’t got the chops.

People still use IE?

Nice compare/contrast of Gosling with the likes of Marvin and Mitchum, because there is no comparison.

Despite a ridiculous premise, Lars and the Real Girl is quite good. Blue Valentine is excellent, but almost too brutal to be watchable. Most of his films seem to flirt with sentimentality, but never quite go over the edge into eye-rolling sappiness.