Drive [4K UHD]

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The ease with which he handles violence shows that he’s had plenty of experience with it in his past. Special agent Toby Wong (Dacascos) is outfitted with some bio device that gives him superhuman powers, and Toby is worried that the Chinese government will want to exploit the device within him. Refn being Refn, he didn’t take that road, and instead followed his own muse with his follow-up vehicle Only God Forgives, a film that’s deliberately designed to frustrate viewer expectations.

Gosling is superb in the title role, Mulligan is underused in the film but is still good and there is a great cameo from Albert Brooks probably as you have never seen him before.Cinematographer Newton Thomas Sigel captured Drive digitally at 1080p resolution, primarily using ARRI ALEXA cameras with Angénieux Optimo zoom lenses, though he switched to Cooke S4 and Zeiss Master Prime lenses for the car interiors. As mentioned previously, the aesthetic of the film can be a bit flat, with primaries usually looking muted and everything looking a bit soft. Core to the entire movie - to the point where you could almost watch it without dialogue - is the score from composer Cliff Martinez, which is just a work of genius. It turns out that her husband has been doing time and now hes out and still in debt to the low lifes that put him inside in the first place.

This is the first Second Sight Films transfer I've seen, so let's see how many enemies I can make:) I'm a big fan of this movie and absolutely love the style.Drive was shot primarily on Arri Alexa, with more restrictive in-car shots captured using Canon 5D Mark II and Iconic HD-RH1 cameras, with prime lenses used to allow more light into the camera under low-lighting shots. Keanu Reeves and Christina Hendricks have joined the cast of Nicholas Winding Refn's latest film, The Neon Demon. If you used a single 100GB disc on Drive, for instance, you could have set the average bit-rate to 98 Mbps.

The sparse dialogue leaves huge portions of the story that stand and fall on the acting ability of the cast. Although the lack of new extras may be disappointing to some, there’s a good chunk of archival interviews and featurettes included here that actually offer insight into the production. Ron Perlman as the small-time thug with delusions of grandeur is just pitch-perfect, proving once again that Perlman is a seriously underrated actor.Drive's 4K Ultra HD Blu-ray earns an upgrade on the aural front too, with a tremendous 3D High Definition object-based immersive audio track in the form of Dolby Atmos, which only complements and enhances the original DTS-HD Master Audio 5. As for the Dolby Vision HDR layer, DV infuses the presentation with a rich palette that rewards the film’s rather-spare aesthetic. Drive on 4K has never looked better, it's not absolutely perfect, but what Second Sight Films has achieved is excellent.

The benefits here from upscaling at the uncompressed source are incremental, not revelatory, but it’s still a good reminder not to be so quick in dismissing anything that wasn’t captured natively at 4K. Gosling’s Driver is clearly inspired by Ryan O’Neal’s The Driver in that film, especially in terms of his taciturn nature—Driver was much more garrulous in the novel by Sallis, so that key change proves that Refn was following Hill in that regard.It’s not so much of a scene-specific commentary as it is a loose conversation between the two of them, sharing much more generalized thoughts about the film. Be warned that there is actually very little driving in this film, despite the fact that it is about a stunt driver.