Drive

Audiences for “Drive” may be expecting an over-the-top action movie. But the film, about a Hollywood stuntman who moonlights as a getaway driver, subverts those expectations. From the first scene, it's clear this is no ordinary action film. “Drive” manages to forego the fast pace, quick cuts, and unbelievable set pieces that define the genre in favor of a highly stylized realism. Director Nicolas Winding Refn creates a world in which the suspense is actually suspenseful. “Drive” is an extremely violent film, but it's also unafraid of the slow build-up. As a result, the violence has that much more impact.

From the pink opening titles to the synth-heavy soundtrack, “Drive” lives and breathes style. Some might criticize it for flash over substance, but the slow pace and lack of action early on is deliberate. Each moment is meticulously crafted to maintain a specific tone. There are no unnecessary side plots or extra characters. There are no huge chases where police cars flip over, and no giant explosions. “Drive” creates real tension without sacrificing a sense of reality. When the finally blood does splatter, it looks real and feels earned.

Ryan Gosling is the protagonist, a unique antihero known simply as "the driver." He performs stunts by day and drives criminals around by night, under the guise and supervision of his unlucky manager, played by Bryan Cranston. The driver doesn't simply drive. He is a stealth weapon who knows the city streets and is capable of blending into the environment.

Here’s an example: early in the film, the driver avoids the police, leads them into a sports arena just as the crowd is spilling out, and then manages to walk by the cops in plain sight. It's supremely cool to have a character rely purely on technique to hide one moment, keeping the cops scrambling, and to aggressively bolt around corners the next, timing his movements based on the police scanner and the sound of the ball game on the radio. This is no simple car chase. It's a uniquely subdued action sequence filled with sweat-breaking tension.

The driver is given no back story. He remains mysterious throughout. The audience knows nothing of who he is, and what his motivations are for protecting a woman (Carey Mulligan) and her son, even after finding out her husband is returning from prison. His motivations are so pure that he comes off as somewhat of a mythical hero.

Visually, “Drive” is a beautiful film. The cinematography is spectacular. The violence is real but the feel is fantastical. The characters are nuanced, the acting compelling. Albert Brooks has a brilliant turn as an aging Jewish gangster.

A few people will be turned off by the style as well as the extreme violence. “Drive” has the style of a John Hughes romance mixed with a Tarentino level of violence. It's a difficult movie to put on paper. But in a landscape filled with the same old stuff, it manages to offer something transcendent. Some might not latch on to it, but those ones who do are in for an immersing experience.

Also in theaters

Moneyball

“Moneyball” tells the true story of Billy Beane (Brad Pitt), the general manager of the Oakland A's who challenged the system by forever changing the way teams are put together. Pitt forms a relationship with Ivy Leaguer Peter Brand (Jonah Hill). Together they dump the overpaid stars, using statistics and percentages to put together a winning team of bargain players. Director Bennett Miller takes a smart and funny script and uses an understated style to get great performances from Pitt and Hill. Pitt as always, is a crowd-pleaser. The film itself is an excellent tribute, exploring a unique aspect of the game and creating a satisfying film that will please both baseball fans and movie fans alike.

Abduction

Take “Twilight” star Taylor Lautner, place him in a "Bourne"-style thriller, and you have “Abduction, about a teenager who learns he may be living someone else's life. Essentially, the film takes a star who appeals primarily to teenage girls and puts him in a genre that appeals primarily to guys. But not even the most accomplished actor could save this uninspired thriller. Lautner runs around, avoiding and killing assassins and federal operatives, while looking intense and delivering tired quips. As derivative as the action sequences and the dialogue are, the main issue with the movie is that it's not very good. You can utilize these tropes to put together a decent action film, but “Abduction” fails to do so. Combine that with plot holes and Lautner’s laughably complicated backstory, and you get a film that just doesn't make the cut.

Dolphin Tale

A dolphin damages its tail in a crab trap and is taken in by a young boy, who helps it to swim again. Despite the overall schmaltz of the film's inspiration, “Dolphin Tale” manages to be pretty good. It takes an earnest approach, accepting the story for what it is, corniness and all. Personally, these types of stories aren't my cup of tea. ‘Dolphin” is not deep. It's not challenging. The characters are one-dimensional and the story lacks conflict. The villains are bad and the protagonists are good, with no subtlety in either. But these complaints are more personal opinion than anything. The writing is strong and the story is told well. For this style of film, it’s good, and fans of the genre will appreciate it more than I ever could.

DVD

Bridesmaids

“Bridesmaids” was the breakout comedy of the summer, proving that women can be just as hilarious and raunchy as the guys. The cast and creative forces behind the movie are some of the funniest women in comedy today. At certain points, the movie feels like a collection of set pieces rather than a fully realized story, but the abilities and chemistry of the performers more than make up for the looseness of the plot. In fact, I feel like I'm underselling this movie, because the improv-heavy style works so well. The movie is really hilarious and the performers are a treat to watch.

The Kennedys

The story behind this miniseries is an interesting one. Originally created for television, “The Kennedys” hit its first bit of controversy when the History Channel announced that it wouldn't be airing on their network because it "didn't fit their brand." While it eventually ended up on the little-watched Reelz network, the eight-part miniseries' main draw was the controversy itself. As it turns out, “The Kennedys” isn't a disaster, but it's not very good either. It's stodgy and melodramatic. The acting (from Greg Kinnear as JFK, Katie Holmes as Jackie, Barry Pepper as RFK, and Tom Wilkinson as patriarch Joe Kennedy) is a little cartoonish. And the overtones are fairly heavy-handed, like one of the miniseries of the seventies.  Despite the historical nature of the subject matter, “The Kennedys” comes off as a rather unrealistic take on the famous family.