How does movie drive end

After that, there's lots more violence and retaliation. The Driver kills Nino. Bernie kills Shannon Bryan Cranston , who's the Driver's mentor. And finally, the Driver kills Bernie. This effectively removes the threat to the Driver and Irene, which would allow them to be together since Standard is now out of the picture.

But that doesn't happen. Instead, the Driver drives off into the sunset. Cosmic nihilism is no new territory for Winding Refn, of the grim Pusher trilogy and the operatically brutal Bronson. That's a big part of what makes Drive successful, for there's little point in denying that the film it's nasty potency.

Anchored by Gosling's "man who wasn't there" glacialness in the central role, the film is slow and methodical, not in the "boring and pacey" way, but in the "stalking, looking for where to shiv you" way. The scorpion jacket the driver wears constantly is explained in-film through that old chestnut, "The Scorpion and the Frog" which is, thankfully, not repeated in full, other than the punchline , but outside of the film, the even better answer is that the film is itself predatory, and so is its protagonist, the thoughtful, slow kind of predator that hides in damp places and springs out in a flurry of claws.

Which, in Drive 's case, is the abrupt turn it takes into stomach-turning violence about two-thirds of the way through, a descent into gore as well-timed and unexpected as one could possibly hope for. The film is best when it's plumbing barbarism like that, not always in such visceral terms. Gosling doesn't have the luxury of being nearly so colorful, but his slowness and quiet are a perfect fit for what the movie requires of him. Then there is the style of the piece, evoking Mann and Melville especially but doing something not quite either of them.

I could never shake the feeling of it being an excessively "electronic" movie, what with the music and songs, and then the gorgeous cinematography of Newton Thomas Sigel, noir with all the deep blacks flattened into the hazy never-dark of an urban environment plastered with street lamps and stoplights and sickly fluorescent that you can almost, but not quite hear buzzing.

Perhaps this is the point, I'm not certain. At any rate, Gosling too carefully renders the driver in immutably opaque shades, and Winding Refn and company too persuasively leach all the life and goodness out of the visuals, and the shift back into something resembling comfort and warmth and happiness falls completely flat.

This doesn't even hurt the movie, as such: the harshness of it is what makes it so memorable, along with the precision of its big setpieces a thrillingly choreographed opening getaway, and the entire matter of the mid-film caper and how it goes wrong, culminating in a hotel room scene that completely earns that laziest of encomiums, Hitchockian , and the leaden Irene material - magnified by Mulligan's extremely game attempt to play a character she's not well-suited for - bogs the film down as padding, without lessening it.

Of course, minutes of existential chilliness modulated by an awkward "saved by the love of a good woman" subplot, all adds up to a kind of deliberately nasty exercise that does not, at any rate, equal a terrifically fun or edifying night out.

It is an excellent, even magnificent machine: but with its inadequate feint towards humanism, and without the intuitive feel of its best models, Drive must settle for being just an awfully damn good movie. When I asked Refn first-hand what the ending of Drive was all about, I expected the typically coy filmmaker to hand me an equally coy answer. However, he was surprisingly straight forward in his response:.

Well all my films always have open endings. All of them. Because I believe art is always best when Maybe once in awhile I've gone too far, but I always believe in finding the right balance. That would qualify him as the hero of a mindless action picture, all CGI and crashes and mayhem. Sometimes a movie will make a greater impact by not trying too hard.

The enigma of the driver is surrounded by a rich gallery of supporting actors who are clear about their hopes and fears, and who have either reached an accommodation with the Driver, or not. Here is still another illustration of the old Hollywood noir principle that a movie lives its life not through its hero, but within its shadows. The Driver lives somewhere somehow that's improbable, since we expect him to descend full-blown into the story.

His neighbor is Irene, played by Carey Mulligan , that template of vulnerability. She has a young son, Benecio Kaden Leos , who seems to stir the Driver's affection, although he isn't the effusive type. They grow warm, but in a week, her husband, Standard Oscar Isaac , is released from prison. That will provide the engine for the rest of the story, and as Irene and Benecio are endangered, the Driver reveals deep feelings and loyalties indeed, and undergoes enormous risk at little necessary benefit to himself.

The film by the Danish director Nicolas Winding Refn " Bronson " , based on a novel by James Sallis , peoples its story with characters who bring lifetimes onto the screen, in contrast to the Driver, who brings as little as possible.

Ron Perlman seems to be a big-time operator working out of a small-time front, a pizzeria in a strip mall. Albert Brooks , not the slightest bit funny, plays a producer of the kinds of B movies the Driver does stunt driving for — and also has a sideline in crime. These people are ruthless. More benign is Bryan Cranston , as the kind of man you know the Driver must have behind him, a genius at auto repairs, restoration and supercharging.